



























GojpgM?. 


COFHRIGHT DEPOSIT. 















A CATALOGUE and REVIEW OF 


PLAYS 


LOYOLA UNIVERSITY PRESS 


CHICAGO, ILLINOIS 




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■ 1 ^ 


COPYRIGHT, 1923 
BY 

LOYOLA UNIVERSITY 
CHICAGO, ILL. 


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CONTENTS 






Page 

American plays—featuring American his¬ 
tory: Pioneer clays, Colonial; 1812; Civil 
war; Reconstruction period; days of 
Custer; Spanish-American war; late war 
plays ...9-16 



American plays, American locale, 
by states, etc. 


arranged 
...16-23, 147 


Allegories . 

Blind, plays for. 

Boys, plays fori. 

Childrens ’ plays . 

Christmas plays . 

Classics, old . 

College plays (see under Young 

Costumes, works on. 

Days w t c celebrate, plays for.... 
Deaf and dumb, plays for. 


.24, 147 

. 25 

_25-29, 147 

_30-32, 147 

32-34, 147-148 
....34-36, 148 

People’s) 
.141-145 

. 36 

_36-39, 148 

. 39 


Drama 


Advanced plays . 

Medium difficulty . 

Easy . 

Dickens, plays from. 

Educational plays. 

English, old . 

Entertainments . 

Fantasy . 

Farces . 

Folk plays . 

Garden plays . 

Girls’ plays . 

Greek plays . 

Handicapped, plays for. .. 

Historical plays . 

Home plays . 

(American) Indian plays. 
Juvenile (see Children’s). 
Kindness to animals, plays 
Ladies’ plays . 


....40-52, 148 

_52-58, 148 

.58-59, 148 

. 39 

. 59 

.60, 148 

60-64, 148-149 

.64-65 

.65-72 

.72, 149 

.76-77 

.77-88, 149-150 

.82-83 

. 83 

.84-85 

.85—86 

.86-87 

. 95 

.95-96 

_96-101, 150 


Languages, Plays in foreign 


Page 

French .72-75, 149 

Gaelic . 75 

German . 75 

Italian . 94 

Spanish .137, 152 

Lighting, w T orlts on. 101 

Little Theatre, works on.101, 102 

Male characters, plays for.102-106, 150 

Masques . 106 

Miracle, mystery, moralities.106, 151 

National 

Alsace-Lorraine . 24 

Arabia . 24 

Arabia . 24 

Austria . 24 

Bohemia . 24 

China .29-30, 148 

Danish . 36 

English, old .60, 148 

Egyptian . 59 

France .72-75, 149 

German . 75 

Greek .82-83 

Hungary . 86 

Indian-American .86-87 

Indian, East. 87 

Irish (see also Gaelic).87-93, 150 

Italian .94, 150 

Japanese .94-95, 150 

Latin . 101 

Oriental . 121 

Negro . 107 

Panama . 127 

Poland .129—130 

Russia .1^3, 152 

Scandinavia . 133 

Scotch . 133 

South America . 137 









































































Play Catalogue 


Page 


Page 

Wabash .137-138, 152 

Wales . 140 

One Act Plays 

Advanced or Art plays.107-114, 151 

Medium Difficulty .114-119, 151 

Simple .119-121 

Out of door or Open-air theatre, plays for.. 
.125-12(3 

Peripapetic theatre .125-126 

Water theatre . 126 

Woodland theatre .140-141 

Pageants .126-127, 151 

Pantomimes .127-128, 151 

Parish theatre . 151 

Patriotic plays and entertainments. 128-129, 151 

Portmanteau theatre . 130 

Publishers’ addresses .131, 152 

Reference works .130, 152 

Religious and Sacred drama.131-132, 152 

Rhymthic drama.132-133 

Shadow plays .135-136, 152 


Shakespeare, special playing versions 

..! .. ..135-136, 252 

Short plays..•.134-152 

Sociological plays. 136 

Stage-craft .138-139, 152 

Tableaux .139, 140 

Technical and Theoretical 

American . 140 

European . 140 

Voice, works on. 140 

Woodland plays . 140 

Young People’s plays, also classified as Col¬ 
lege plays .141-145 


Special note: Prices subject to change, by the 
publishers. 

N. B. This is not a complete catalogue of 
plays for amateurs; rather it is a suggested list, 
of plays which were possible for reviewing 
owing to the courtesies of the publishers. 


M] 

































FOREWORD 


Mary are the gray hairs that grace the head of a director of amateur 
dramatics, many as the joys that thrill his heart. For, although the director 
love his work and finds in it an unending source of inspiration and recrea¬ 
tion, there are moments when he feels that his life is not a happy one. He 
has to keep peace in a large and temperamental family; he has to be car¬ 
penter and painter and electrician and costumer; he must wield with equal 
skill a needle and a baton; he has to unite in his single person the tact of 
a trained diplomat with the patience of—shall I say Job, or an animal 
trainer? But most of all, he has tee be able, at a moment’s notice, to suit 
his his cast and his audience and his occasion with just the right sort of 
play. 


And there’s the rub that leaves him with raw nerves and a ruffled 
soul. It isn’t that the supply of plays is in anyway limited. Heaven knows, 
every third person in our fair land (and every second person in Europe, 
including the Scandinavians) seems to be writing plays. One suffers from 
the poverty of riches and from the excess of quantity over quality. 


So the director is faced with a multitude of difficulties. If he be 
enlightened and in touch with the best advances of modern dramatic tech¬ 
nique, he shrinks from the false convention, the tawdry emotionalism and 
absurd unnaturalness which characterized the plays of a less critical past. 
If he be decent himself and considerate of the feelings of others, he shrinks 
still more from the rotten morals and unsavory propaganda which has been 
piped through dramatic channels into our modern theatre. He can not ask 
his actors or his audience to accept “Hazel Kirke” or “The Still Alarm’’; 
he is unwilling to ask sweet young women and clean-minded young men to 
sink their personalities into the fetid souls of “Iledda Gabbler ’ or “The 
Master. ’ ’ 


Yet he knows that somewhere there must be plays a-plenty—just such 
plays as his type of actors and audience demands. He knows that all plays 
do not offend either art or morals, for great art is essentially moral, and the 
drama cannot be an exception to the rule. Somewhere must be plays that 
embody wholesome plots and clean, inspiring characters in correct dramatic 
technique. He knows a number of such, no doubt, but by no means enough 
to fill his varied needs. There must be more if he could only find them. 
But he draws back hopelessly before the labor such a search involves. The 
simile of the needle in the haystack should be supplanted by the figure of 
the proper play in the library. One might find the needle; one shudders 
at the task of finding the play. So amateur directors have for years been 
longing for someone who would tell them just where to find the plays ie> 
want If someone, they have sighed, would only act as intermediary 
between right-minded dramatists and right-minded directors! 


Some one finally has done so, and that some one is the compiler of this 
catalogue. Miss Cecilia M. Young has realized from her own wide expen- 


[ 5 ] 



Play Catalogue 


encc as director of amateur dramatics the harrowing task of finding plays 
that offend against neither ethics nor aesthetics. So with a fine courage 
she set herself to the labor of gathering together for the use of other suf¬ 
ferers from the drama-drought just that type of play. 

From the start of her search I have watched her enthusiastic devotion 
with genuine admiration. The mere physical labor of plowing through so 
many lists, files of public libraries, and publishers’ catalogues; the energy 
required to read literally thousands of plays; the constant correspondence 
with publishers and authors; the following of slight clues that might lead 
to some acceptable play in manuscript, would have crushed a less dauntless 
soul. But Miss Young’s devotion to the cause of amateur dramatics kept 
her at the work in the face of infinite discouragement, and the resultant 
should merit the undying gratitude of dramatic directors. 

The plays in this catalogue are, first of all, suited for presentation on 
the stage. Closet drama has been avoided and acting value kept well in 
sight. The plays listed have been tried, most of them many times, and have 
a record of successful production. The plays, as far as this is possible, are 
technically good. “Technically good” is, of course, a wide term and a very 
flexible one. Directors, themselves, will disagree on just what the words 
mean. But as far as this catalogue is concerned, it is enough that the obso¬ 
lete, the antiquated, the patently false, the dramatically absurd, have been 
eliminated even where an excellent moral is inculcated. A good moral need 
not justify a bad play. Some of the plays listed, are, in the very nature of 
things, inferior to others. One does not ask of a melodrama that it adhere 
to the truth of life as closely as does a social drama. One does not demand 
of a farce that it be too rigid in its appreciation of character values or of 
the laws of probability. Yet Shakespeare has not been above a touch of 
melodrama, and Sheridan stooped from polite comedy to the improbabili¬ 
ties of farce. 

But what is especially claimed for these listed plays is that they are fit 
for presentation by self-respecting actors before self-respecting audiences. 
All that savors of coarseness and vulgarity has been rigorously excluded. 
The utmost perfection of form has not been enough to condone rottenness 
of morals, nor teaching perversive of society. Clever dramatic technique 
no more excuses evil morality than correct evening clothes excuses a mur¬ 
derer. We have had quite enough of filth masking as farce, and propaganda 
against all that men hold sacred masking as social drama. Even if there 
should be a wide divergence among the users of this catalogue on just what 
constitutes morality, Miss Young has shown such admirable discernment 
and judgment, that though some might think she sinned by omission, no one 
can find fault with the plays she has included. Miss Young has not com¬ 
piled a catalogue of Plays for Puritans. Here is a catalogue of Plays for 
the Pure-minded. 

One word must be stressed in this little foreword: There is such a 
thing as honor among producers. To emphasize this often forgotten dictum 
let me present to your imagination a tearful little picture. A poor, strug- 

m 



..Play Catalogue 


gling young author sits in his wretchedly furnished room (you may make 
it a garret if it helps your fancy) writing far into the night the play that 
is to make his fame and fortune. At length it is finished and the publisher 
opens wide his arms to welcome this dramatic masterpiece. The author, 
weak with hunger, struggles back to his garret and sits down to await the 
stream of gold that will soon carry him on its tide through his wretched 
window and into the haunts of peace and plenty. But he waits, and he 
continues to wait. Is no one using his play? Oh, yes; dozens of people 
have produced it. Why, one company added three thousand dollars to a 
club building with just that one play. But not one word of thanks did he 
get for it, and far, far less of royalty. He knows of one director, who, on 
the verge of insanity, was saved in the nick of time by stumbling on his 
play. Yet, though the play saved him large doctor’s fees, and bills for care 
at a sanitarium, not to mention the money he received for producing it, 
nary a cent did he transmit to the poor author, now slowly wasting away, 
in his attic up under the roof. At last the author dies, for even authors are 
human; and on his little wooden cross they scrawl: “He was a King of 
Words, but he died from Lack of Royalties.” 

There is, as I remarked in the beginning, such a thing as honor among 
producers. If a play is marked in this catalogue or in the book containing 
it as subject to royalty, remember the starving author! Remember, too, 
that this catalogue is designed for right-minded persons; and right-minded 
persons pay their just debts. 

One feels as he studies this catalogue the immense help it will be to 
directors and the impulse it will give to the right sort of amateur dra¬ 
matics. And service to the cause of amateur dramatics is something that 
merits unstinted applause. The wave of interest in amateur dramatics 
that is reaching its crest in this country is one of the healthiest signs of 
our artistic life. Good drama well presented means contact with fine minds 
in a most intimate way; it means living for a time, a richer emotional life; it 
means plumbing depths in one’s soul that would otherwise lie unfathomed. 
It means, moreover, the pleasure of delightful companionship, of working 
with congenial spirits in a common artistic production. It means the most 
wholesome of recreations in the most vrholesome environments. 

If there has been one danger in the whole movement, one fact that 
has made it seem in the least suspicious to sensitive persons, it has been the 
type of play at times too prevalent. And Miss Young, through her cata¬ 
logue, has done a fine piece of constructive work just where the danger lay. 
It never seems quite fair to condemn a thing unless one offers a substitute. 
In her catalogue, Miss Young does not condemn. She offers unlimited sub¬ 
stitutes for the unsavory and unhealthy type of play that must in time 
destroy a movement wdiich promises much for artistic life in America. 

The Nativity of Our Lady, 1922. 


[ 7 ] 








A Catalogue of Plays for Amateurs 


Note: It is recommended to facilitate rehearsals that each member 
of the cast be supplied with a copy of the play . . . “the complete play 
is by all means the best for amateurs. Even to study a role the complete 
version seems the best.”—Clarence Stratton, in Producing in Little 
Theatres. 


AMERICAN PLAYS 
(Featuring American History) 

1. Columbus. —A drama in three acts, by Dan¬ 
iel Easter Doran, based on the history of Chris¬ 
topher Columbus. A fine work written partly in 
prose, partly in verse. Requires skilled acting; 
passages of fine emotion and lofty thought make 
the role of Columbus an exacting one, must have 
good elocution. Act II can be presented as a 
complete one-act play, containing all the ele¬ 
ments necessary. A dramatic, well-constructed 
act. The characters in the entire play are ex¬ 
cellently drawn, well contrasted. A large cast 
of male characters and only three principal fe¬ 
male roles. Act one is the court of Ferdinand 
and Isabella; act two, on board the Santa Maria, 
at sea. Act three is the court scene once more. 
(Written especially for the 430th anniversary 
of the discovery of America—1492-1922.) Roy¬ 
alty. Has been produced with great success in 
the East. D. A. Doran.* 

2. The Capture of Ozah. 

Comedy. 

One act. 

Four characters. 

Synopsis: Ozah, “Peace-maker of the Sen¬ 
ecas,’’ singing and weaving with her friend, 
“wants no love-songs” and laughs at Origia, 
who follows the song of her lover. Later, Ata- 
kea comes to her with wooing, which at first 
she refuses coquettishly,—she runs from him, 
but he chases and finally captures her. 

Published by French. (See also under In¬ 
dian.) 

3. The Arrow-Maker’s Daughter.— (Longfel¬ 
low’s Hiawatha.) 

Adapted by Grace E. Smith and Gertrude 
Knevels. 

About one hour. 

Particularly recommended for school use. A 
number of pretty dances are introduced, all of 
which are fully described. 

Published by French & Baker. $1.35. 

*Catholic Drama Guild, 1312 Massachusetts 
Ave., Washington, D. C. 


4. The Little Father of the Wilderness.— 

Austin Strong and Lloyd Osborne. 

One act—twenty minutes. 

One of the most exquisite, soul-reaching little 
dramas ever presented. A French missionary is 
summoned to the court of Versailles, for what 
purpose he cannot guess, unless it is for some 
high ecclesiastical appointment, but he soon 
hears it is to decide a wager of a foolish king. 
Characters historic—Louis XIV, Chevalier de 
Frontenac, etc. A beautiful tribute is paid in 
the character of the little priest to all the early 
missionaries. 

$50 for each performance. 

American Play Co., 42d St., New York City. 

“Amid all the successes of a notably eventful 
week the littlest play turns out to be the pre¬ 
eminent contribution to the art of the stage. 
Pere Marlotte has taken his place in that corner 
of our hearts, where live Sergeant Gregory 
Brewster and other figures, in brief episodes, 
but appealing to something that is lasting and 
universal, the emotion of gentle play in the 
breast of mankind.” James O’Donnell Bennett. 

5. Plays of the Pioneers.—Constance D’Arcy 
Mackay. 

Six pageant plays. 

5 to 18 principals and extras. 

Contains good Indian plays. 

Published by Harpers. $1.00. 

6. The Pioneers (in More Short Plays).— 
Mary McMillan. 

15 male parts, including five Indian chiefs. 

4 women. 5 children. 

Besides this very fine play of early settlers 
and Indians, the book contains several good 
plays mentioned elsewhere in the catalogue. 

Stewart & Kidd. $2.50. 

7. In the Valley of the Mohawk. 

3 acts—7 scenes. 

1 hours. 

Musical drama of Iroquois and Algonquin 
tribes, introducing Father Jogues. 

Presentation Community, St. Michael’s School, 
New York City. 

$ 1 . 00 . 


[ 5 ] 





Play Catalogue 


8. See catalogue of operettas for Indian cus¬ 
toms, plays, etc., published by Birchard & Co., 
Columbus St,., Boston, Mass. 

9. In Good Old Colony Times.—Wm. Say- 
ward, Jr. 

9 male characters. 4 female characters. 

Comedy. 

Scene—early Massachusetts—1764. 

Three acts. 

French publication. 30 cents. 

10. Patriots. See Patriot list. Washing¬ 

ton is one of the characters. 


COLONIAL PERIOD 

11. Mr. Washington Visits Castlewood.— 

From The Virginians.—Thackeray. 

Dramatized by Cecilia M. Young, 6242 Win- 
throp Ave., Chicago. 

2 females. 

10 males and extras. 

Three acts—one hour. 

12. Love and Tea.—A. P. See. 

2 males. 

6 females. 

Comedy. 

Scenery—A single interior, costumes of the 
period. 

1^4 hours. 

Miss Boltwood joins a band of ladies who for¬ 
swear tea until the war is over. Her niece, 
Betty, whose engagement she opposes, catches 
her in the act of secretly indulging and thus 
forces her consent. Fine colored comedy char¬ 
acter. All the parts good. 

Baker & Co. 30c. 

13. The Birthday Ball. 

A delightful little picture of Colonial life. 
Easy to perform, and especially adapted to the 
needs of schools, church and girls’ clubs. 

French. 30c. 

14. The Triumph at Plattsburg.—In Quinn’s 

Representative American Plays. E. P. Dutton. 
Three acts. 

6 principal male characters. 

4 female characters. 

Old-fashioned in treatment—produced in 1830. 

15. Nathan Hale.—Clyde Fitch. 

Four acts. Scenery—Four interiors and two 
exteriors. Plays a full evening. 

15 males. 

4 females. 

Supernumeraries. 

Costumes of the eighteenth century in Amer¬ 
ica. Royalty, $10.00. 

Baker. 60c. 


16. Hamilton. —M. P. Hamlin and G. Arliss. 

Four acts. Scenery—Three interiors. Plays a 
full evening. 

11 males. 

5 females. 

Costumes of the period. 

Royalty for amateurs, $25.00. 

Special royalty for schools, $10.00. 

Baker. 60c. 

17. The First Lady of the Land.—C. F. Nird- 

linger. 

Four acts. Scenery—Three interiors. Plays 
full evening. 

11 males. 

8 females. 

Supers. 

Costumes, early American—time of James and 
Dolly Madison, the latter being the chief char¬ 
acter. 

Lines in first act need cutting, because of 
some vulgarity. 

Royalty, $25.00. 

School performances, $10.00. 

Baker. 60c. 

18. The Minute Man. —N. S. Messer. 

Patriotic sketch. Prologue and three episodes. 

13 girls. 

Scenery—Three interiors. Plays 1 14 hours. 

Colonial and Civil War costumes. 

Baker. 25c. 

19. A Noble Spy. 

A play for boys. 

Six acts. 

Chief characters are Washington, Clinton and 
Heath, Nathan Hale, Capt. William Hull; offi¬ 
cers, citizens, soldiers, etc. 

Penn Publishing Co. 25c. 

20. Dispatches for Washington.—C. C. Ma¬ 
ther. 

One act—20 minutes. Scene—An easy inte¬ 
rior. 

3 males. 5 females. 

Baker. 25c. 

21. Mistress Penelope.—Thomas Littlefield 

Marble. 

One act—time, thirty minutes; schoolroom 
scene in Pennsylvania. 

4 males. 

1 female character. 

Quakeress school-teacher hides an American 
soldier pursued by British and confines his pur¬ 
suer in the wood-box while the patriot escapes. 

Penn. 25c. 


[ 10 ] 



Play Catalogue 


22. Our Boys of 1776.—G. M. Baker. 

Two acts. One scene, an old-fashioned kitchen. 
Time, 1% hours. 

3 females. 

8 males, including a negro and a Dutchman 
(character parts). 

Baker. 25c. 

23. The Patriot Girls.— Lilian F. Chandler. 

Two acts. Time, 1% hours; scene, one inte¬ 
rior. 

6 females. 

2 males, or it may be all females. 

Costumes, modern and Colonial. 

Penelope Winthrop of New York visits her 
ancestral home in Boston, arriving on the eve¬ 
ning when the portraits of her ancestors step 
from the frames and enact the part they had 
taken in saving Boston from the British during 
the Revolution. 

Penn. 25c. 

24. The Patriot. —Thomas Littlefield Marble. 

Two hours. Scenes—Interior and woodland. 

Three acts. 

6 males. 

3 females. 

Costumes, English and Colonial. 

Penn. 25c. 

25. The Doll That Saved an Army. —E. M. 
Wormwood. 

Four scenes. 30 minutes. Scenery simple. 

12 boys. 

6 girls. 

Baker. 25c. 

26. Lexington.-—E. J. Whisler. 

4 acts. Time, 2 1 /* hours. Scenes—2 interiors, 
1 interior. 

9 males. 

4 females. 

The plot clings closely to the story of Paul 
Revere, while entwined about it is a pretty love 
story. 

Dennison. 25c. 

27. The Girls of 1776.—D. A. Shoemaker. 

Three acts. Scenes—Two interiors, two exte¬ 
riors. Plays a full evening. 

14 females. 

Supernumeraries. 

Penn. 35c. 

28. Andre.— Wm. Dunlap. 

Old-fashioned tragedy in five acts and quaint 
prologue. The characters: General Washington, 
McDonald, Seward, Bland, Melville, British 
officer, American officer, other officers, children, 
Andre’, Mrs. Bland, Honoria, Andre’s sweet¬ 
heart. This play is interesting historically, as 
it is said to be the first drama acted in the U. S. 


during Washington’s life, in which he was made 
to appear on the stage of a theatre. 

In "Representative Plays by American Dra¬ 
matists,” by Montrose J. Moses. 

E. P. Dutton. 

29. Dianthe’s Desertion.—Helen P. Kane. 

Serio-comedy in one act. Time, one hour. 

Scene—Interior. 

4 female characters. 

The action takes place during the siege of 
Charleston in 1780. 

Penn. 35c. 

30. The Man Without a Country.—Edward 
Everett Hale, adapted b 3 r Miss Crimmins. 

Prologue, three acts and an epilogue. 

All male characters. 

Costumes—Uniform of the American officer 
of today and of our Army and Navy in 1807. 

1812-’14 

31. —Sam Average.-—Percy Mackaye. 

3 males. 

1 female. 

One act. 

An allegorical figure of Uncle Sam, speaking 
to the characters, gives a patriotic thrill. 

In "Yankee Fantasies.”—Henry Holt & Co. 

Permission for playing must be obtained from 
the publishers. 


CIVIL WAR 

32. Allatoona.—Major-General Judson Kil¬ 
patrick. 

20 males, 5 females. 

Story of beginning of Civil War at West 
Point; splendid opportunity for double quartette 
or college glee club, singing West Point and old 
war songs of North and South. 

French. 25c. 

33. On a Kentucky Staircase.—Cecilia M. 
Young. 

Dramatic sketch suitable for home-parlor the¬ 
atricals. Story of the beginning of the Civil 
War in the South. 

(See Home Theatricals.) 

34. From Sumter to Appomattox.—E. C. 

Whalen. 

Time, 2 % hours. Scenes—Interiors and a 

camp. 

Four acts. 

2 females. 

6 males and squad of recruits. 

Lieutenant Farnsworth as a spy plays a num¬ 
ber of clever roles. 

Denison. 25c. 


[U] 




Play Catalogue 


35. 11 The Village Postmaster. ’ ’ A little play 
of the period of 1852, while not of historical 
value but full of local and period color: Com¬ 
edy, 4 acts, by A. Ives and J. Eddy; 9 miles, 6 
females. The play opens in a little New Hamp¬ 
shire village on “general training day’' or the 
military drill. 

French. 30c. 

36. Shenandoah.—Bronson Howard. 

Four acts. 

15 males. 

7 females. 

The “big act” of the play is when Sheridan 
rides across the stage on his black horse and 
turns back the retreating Union Army. 

In Quinn’s Representative Plays. 

37. Brother Against Brother.—B. F. Moore. 

Five acts. Plays a full evening. Scenery— 

Simple. 

9 males. 

2 females. 

Two strong leading parts, Irish comedy and a 
strong heavy part; all other parts effective. 

Baker. 25c. 

38. A Fighting Chance.—See Girls’ Plays. 

39. A Virginia Heroine.—S. G. McGlone. 
See Girls’ Plays. 

The Raiders.—Thomas Littlefield Marble. 

Four acts. Time of playing, 2 hours. Scenes 
—One exterior and three easy interiors. 

9 males. 

4 females. 

Founded on Morgan’s famous raid into Indi¬ 
ana. The author has purposely refrained from 
any appeal to sectional feeling. 

Penn. 

40. Confederates. 

One act. 

4 males. 

1 female. 

A young lieutenant, who is in love with the 
girl, is found to be a spy. When his chum, who 
is also in love with the girl, finds out that she 
loves the lieutenant and not him, he takes the 
other man’s place and goes out to be shot in his 
stead. 

French. 

41. The Littlest Rebel. 

Four acts. 

16 males. 

3 females. 

The heroine is Miss Virginia Cary, “seven 
years old, but going on eight’’; also two strong 
men’s parts. 

French. 50c. 


42. The Weeping Willows.—B. F. Moore. 

Three acts. Three scenes—Two exteriors and 
an interior. 

9 males. 

4 females. 

The “secret service’’ is introduced in the 
action. The battle of wits between Captain 
Belmont and Captain Preston compelling the 
keenest interest. Plays a full evening. 

Baker. 

43. The Double Peril.— G. Patten. 

Comedy in three acts. Plays a full evening. 
Scenery—A single easy interior. 

4 males. 

2 females. 

Good play for a small cast; all the parts good. 

Royalty, $5.00. 

Baker. 35c. 

44. Polly of Pogue’s Run. 

Polly is brought up before the enemy to tell 
what she knows. Her grit, is the story of the 
play. 

Stewart & Kidd. 

45. Sylvia’s Soldier. —G. M. Baker. 

Two acts. Scene—An interior. Time, 1 hour. 

3 males. 

2 females. 

Baker. 25c. 

46. Fighting for Freedom. —A. E. Wills. 

Four acts. Plays a full evening. Scenery— 

An exterior and an interior. 

8 males. 

4 females. 

Highly recommended as strong Civil War 
drama. 

Baker. 35c. 

47. Held by the Enemy. —William Gillette. 

Five acts. Four interior scenes. Two hours. 

14 males and supers. 

3 females. 

Strong play, laid in the Old South during the 
occupation of the Federal Army. Thrilling inci¬ 
dents of love and war. The scene of the trial 
is a most effective one. 

French. 50c. 

48. Enlisted for the War. —G. M. Baker. 

Three acts. Two interior scenes. Time, two 
hours. 

7 males—one negro comedy character. 

3 females. 

Opportunity for introducing awkward squad 
drill, negro songs and specialties, as well as war 
songs. 

Baker. 25c. 


[ 12 ] 



Play Catalogue 


49. The Spy of Gettysburg. —C. Townsend. 

Four acts. Two hours. Scenery—Two inte¬ 
riors. 

8 males—one a good comic negro part. 

3 females. 

Baker. 25c. 

50. After Taps. —R. E. Baker and G. M. 
Baker. 

Three acts. Time, 2 hours. Scenery—An in¬ 
terior and a camp scene. 

7 males. 3 females. 

Irish and negro comedy parts and a good sou- 
brette; songs and games of the camp can be 
introduced. 

Baker. 25c. 

51... Two Little Rebels. —Elsie West. 

12 girls—2 colored character parts. 

Good chance for Southern accent and quaint 
costuming; suitable for Decoration Day, Fourth 
of July or other patriotic entertainment. 

French. 25c. 

52. Barbara Freitchie, the Frederick Girl. — 

Clyde Fitch. 

4 acts, 5 scenes. 

13 males. 8 females. 

A picturesque drama, centering around the 
love of Barbara, a Southern girl, for a Yankee 
officer, ending with the shooting of Barbara by 
her demented Southern lover when she waves 
the American flag from her balcony. 

French. 75c. 

63. Secret Service. —William Gillette. 

Four acts. Two scenes—Drawing-room and 
telegraph office. 

24 male parts, including messenger and sol¬ 
diers. 

5 female parts. 

A splendid picture of the South during the 
war—the scene laid in Richmond, Va.—thrilling 
and full of romance. Lewis Dumont, alias 
Thorne, the part created by Gillette, requires 
a skilled actor. 

Royalty for amateur production quoted on ap¬ 
plication to the publishers. t 

French. 60c. 

54. Between Two Foes. —Forbes Heermans. 

Four acts. Time, 2 1 / i hours. 

17 males. 

2 females—and a number of non-speaking 
parts. Five parts may be doubled. 

Penn. 35c. 

55. In the Line of Duty. —Edward Bateman 
Morris. 

Comedy. Two acts. Time, 1 hour. Scene— 
A simple interior. 

4 males, 2 females. 

Penn. 25c. 


56. Her Friend the Enemy. —Harry Van 

Demark. 

Four acts. Time, 2*4 hours. Two simple 
scenes, one interior, one exterior. 

6 males and supers. 

4 females. 

Penn. 25c. 

57. — The Clod. —One act, by Lewis Beach. 

6 men. 

1 woman. 

Scene—During the war, when an ignorant 
woman does a great thing for a Northern sol¬ 
dier out of a feeling of humanitarianism. 
Washington Square Play Co. 

Published by Doubleday Page, Garden Citv, 
New York. 

58. The Hostage, or Along the Potomac.— 

Thomas Nelson Page. 

One act. 

4 men—colored part. 

2 women. 

Scene—Exterior of old Colonial house—last 
year of Civil War. 

Metropolitan Magazine. 

59. The Crisis. —Winston Churchill. 

Four acts. 

18 males. 

8 females. 

A splendid drama of Civil War days. 
American Play Co. 

60. Down in Dixie. —Charles Townsend. 

Four acts; 2*4 hours. Scenes—Two interiors 

—house and Libby Prison, and one exterior— 
lawn. 

8 males. 

4 females. 

Dennison. 

61. The Warrens of Virginia.— American 

Play Co. 

18 males/ 

11 females. 

A very delightful play of the Civil War—pic¬ 
turesque, full of splendid characterization. 

62. The Midnight Charge. 

See Grand Army dramas at end of Patriotic 
list. / 

French. 15c. 

63. The Confederate Spy. 

Five acts. 

8 males. 

3 females. 

French. 15c. 


[ 13 ] 



Play Catalogue 


64. At the Picket Line. 

Military drama, 5 acts, by J. Adams; 10 males, 
3 females. Scenery—Not difficult. Provides an 
excellent battle scene and a camp scene. Silvy, 
soubrette, a part, of opportunity. Plays 2*4 
hours. 

The thread of Destiny.—See under Virginia 
in following list. 


RECONSTRUCTION 

65. The Day That Lincoln Died.—P. Warren 
and W. Hutchins. 

Plays 30 minutes. Scene—An easy exterior. 
One act. 

5 males. 

2 females. 

A piece in which the Lincoln spirit is mov¬ 
ingly embodied. A splendid little play. 

Baker. 25c. 

66. Comrades.—A. E. Baker. 

Baker. 

67. The Copperhead.—A. E. Thomas. 

10 males, and extras for stragglers in an army. 
8 females. 

Great play, also embodying Lincoln spirit in 
a vivid, splendid way. 

American Play Co. 

68. Gettysburg.—Percy Mackaye. 

1 male. 

1 child. 

The old man “lives over’ f the battles. Excel¬ 
lent for Memorial Day. 

In “Yankee Fantasies.”—Duffield. 

America in the days of 1870. See Captain 
Jinks—Drama list.) 


DAYS OF CUSTER—1875 

69. On the Little Big Horn.—Charles Ulrich. 

Western comedy-drama in 4 acts. 

Time, 2% hours. Scenes—Two interiors, one 
exterior. 

Major Ludlow, on Indian Service, exposes 
Carleton, a card sharp. The latter causes an 
uprising of the Sioux, and fixes the crime on 
Ludlow, who is court-martialed and sentenced to 
death after bravely repelling an Indian attack 
in a cabin. Beryl intercedes with the President 
and obtains a reprieve. Carleton, about to bo 
unmasked, tries to kill Ludlow, and is himself 
killed by Rose. 

Dennison. 


SPANISH-AMERICAN WAR 

70. The Scout of the Phillipines.—Frank Du¬ 
mont. 

Three acts. Time, 2 hours. 'Scenery—Easy. 

11 males. 

3 females. 

A treacherous Spaniard, under the name of 
Biglow, pretends friendship for Americans and 
secretly betrays them. He also kidnaps Grace, 
an American girl. Charles Crawford, the scout, 
rescues her, and leads the Americans to the de¬ 
feat of the Malays. 

Penn. 35c. 

71. In the Trenches.—A Seaman. 

3 acts. Plays a full evening. Scenery—Easy. 

8 males. 

3 females. 

Melodrama, full of powerful situations and 
humorous incidents; Hebrew, Irish and negro 
comedy roles. 

Baker. 25c. 

72. The Starry Flag.—George V. May. 

Melodrama in three acts. Time 1% hours. 

Scenes—ordinary interiors and one easy out¬ 
door scene. 

7 males—and soldiers. 

4 females. 

A young American officer finds in Cuba a girl, 
Juanita, who proves to be the long-lost sister 
of his fiancee. An enemy uses his friendliness 
for Juanita to do him an injury. In the end the 
young officer and the American arms triumph. 

Penn. 35c. 

73. Under the Flag.— See Boy’s Plays — 
French publication. 

WORLD WAR 

74. The Air-Spy —M. Scott. 

Three acts— l 1 ^ hours. Scenery—A single in¬ 
terior. 

12 males. 4 females. 

Inspector Steele, of the Secret Service, sets 
his wits against those of German emissaries in 
their plot against Doctor Treadwell’s airship, 
a valuable war invention, and baffles them after 
an exciting pursuit. 

Royalty, $10 for first performance; $5 for each 
succeeding performance. 

Baker. 35c. 

75. Under Fire. —Roi Cooper Mergrue. 

Three acts, 2% hours. Scenes—Three interior 

and one exterior. 

28 males. 

4 females. 

The play begins in a peaceful home in London, 
that of a member of the British admiralty, ou 


[ 14 ] 



Play Catalogue 


the eve of the outbreak of the struggle. Ethel 
Willoughby, governess to the daughter of Sir 
George Wagstaff, and Henry Streetman have 
been secretly married. He is using her to learn 
British secrets from Sir George. She thinks he 
is a French secret agent, and with the promise 
he will make known their marriage, Streetman 
induces her to secure information regarding the 
English fleet. Soon friends arrive, among them 
Captain Redmond of the Irish Guards. The 
news that war is probable has brought him 
home. Redmond and Ethel have been sweet¬ 
hearts, and when they are left alone he pro¬ 
poses to her, only to learn that she is already 
married. She also learns that her husband is 
really named Strassman, that he is in the Ger¬ 
man service, and has a wife in Germany. She 
plans to fool her “husband” and at the same 
time help England. From this the plot develops 
to an interesting climax. Strassman is killed 
and love triumphs. 

French. 50c. 

76. For Freedom.—Irene Jean Crandall. 

One act, 25 minutes. One interior. 

I male. 

3 females 

A patriotic play of the early days of the war, 
of a young woman who does not want her hus¬ 
band to enlist, and how she is converted. Con¬ 
tains an impassioned plea for Polish freedom. 

French. — 

77. Hitty’s Service Flag—G. R. Bridgham. 

Two acts, 11,4 hours. Scenery—An interior. 

II females. 

Hitty, a patriotic spinster, quite alone in the 
world, hangs up a service flag in her window 
without right, and opens a tea-room for the 
benefit of the Red Cross. 

Dennison. 25c. 

78. The Submarine Shell.—M. Scott. 

Four acts, 2 hours. Scenery—Two interiors. 

7 males. 

4 f6HI8/1.6S* 

Inspector Malcom Steele, of the U. S. secret 
service, devotes himself to unraveling the Ger¬ 
man plots that surround Professor Middlebrook s 
submarine shell that is to bring the downfall of 
the Hun. 

Baker. 35c. 

79. The Call of the Colors.—Lindsey Barbee. 

Two acts; time, 1V4 hours. Scenery Two 

easy interiors. . . , . 

Military enthusiasm, mysterious intrigue and 
a wartime love story. French peasant girl a 
good part. 

Dennison. 


80. The Man Who Went.—W. A. Tremayne. 

Four acts. Scenery—One interior and one ex¬ 
terior. Plays a full evening. 

7 males. 

3 females. 

A stirring and effective play. 

Jack Thornton, a king’s messenger, entrusted 
with important state papers for delivery in 
Vienna, is robbed of them through his attach¬ 
ment to a lady in the Austrian secret service, 
and his career jeopardized; but by the clever¬ 
ness and daring of Dick Kent, of the English 
secret service, who is in love with his sister, 
Evelyn, the plot is frustrated in a series of 
thrilling scenes and all ends well. 

Baker. 35c. 

Royalty, $10 for first performance; $5 for each 
succeeding one. 

81. Three Faces East.—See drama list of 
American Play Co. in this catalogue. 

A stirring play. Recent stage success. 

82. Over Here.—W. B. Hare. 

Three acts. Two easy scenes—a village square 
and a plain room. 

7 males. 

6 females. 

The teachings of the patriotic Miss Em Finch 
of River Landing, Mo., tend to change the 
character of Dan Monihan, jail bird, water rat, 
enemy of society, from a German spy to an 
American lad willing to die for his country. 
Royalty, $10. 

Baker. 35c. 

83. The Honor of the Stars and Stripes.—Ma¬ 
rion Short. 

Four acts. Three simple interior scenes. Pla} T s 
214 hours. 

5 males. 

9 females. 

Hyphenated Americans learn true American 
patriotism through dramatic vicissitudes. 

French. 

84. For the Old Flag.—Arthur Lewis Tubbs. 

Three acts—time, two hours; one interior 

scene. 

5 males. 

5 females. 

Tom Randall, unjustly convicted of theft, 
comes back from prison determined to expose 
his brother, Phil., the real criminal. But Phil 
is in khaki, and for the sake of the flag, his 
mother and a girl, Tom yields and lets Phil 
go to France. When Phil is killed Tom’s name 
is cleared, and he enlists to take his brother’s 
place under the flag, with the promise that the 
girl will be waiting for his return. 

Penn. 35c. 


[ 15 ] 




Play Catalogue 


85. Her Service Flag.—Helen Sherman Grif¬ 
fith. 

One act—time, 45 minutes. Scene—Interior. 

4 females. 

Penn. 25c. 

86. A Gunner in the Navy. —Frank Dumont. 
Melodrama in three acts—time, 2*4 hours; 

easy interiors and street scenes. 

12 male—several parts may be doubled. 

4 females. 

A story of love and intrigue. 

Penn. 35c. 

87. With the Stars and Stripes in France.— 

Frank Dumont. 

Three acts—two hours; scenes, one exterior, 
two interiors. 

8 males. 

3 females. 

Exciting scenes, including a German attack 
on a hospital, strong love interest. 

Penn. 35c. 

88. Inside the Lines. —See drama list of The 
American Play Co. in this catalogue. 

Fine, thrilling play. 

89. Out There. —J. Hartley Manners. 

“The drama of a soul that found itself in 
wartime service." The hospital scene is an 
excellent piece for a skilled cast and could be 
used effectively as a one-act production. Ar¬ 
rangements for producing with publisher. 
Dodd, Mead & Co. $1.25. 

For further list of American history plays 
see “Patriotic." 


AMERICAN IN LOCALE 

Native American plays appropriate for cer¬ 
tain localities; suitable for community and 
civic celebrations, etc. 

ARIZONA* 

90. An Arizona Cowboy. —Sheldon Palmer. 

Comedy-drama. Four acts; time, 2*4 hours. 
Scenes—One interior, one exterior. 

7 males. 

5 females. 

Strong parts for leading man, Indian chief, 
juvenile man, heavy and “bad man" and two 
comedy creations, Hezekiah Bugg, the biggest 
liar in Arizona, and Yow Kee, a Chinaman. 

Dennison. 


CALIFORNIA 

91. The Pet of Parson’s Ranch.—W. F. 

Felch. 

Comedy drama in five acts—time, 2 hours; 
scenes, interior western hotel; exterior moun¬ 
tains. 

9 males. 

2 females. 

Leading man a stage driver of gold-hunting 
days. Villain, a gambler and a road agent. 
Pet, the heroine, a California girl of the days 
before the railroad came, the days of the ’49ers. 
Dennison. 15c. 

92. The Cat and the Cherub.—A play of 
Chinatown, San Francisco. See under “One- 
act plays." See**. 


COLORADO 

93. Lone Tree Mine. —David Hill. 

Prologue and four acts—time, three hours; 

scenery specially arranged for amateurs—cos¬ 
tumes modern. 

10 males. 

3 females. 

The play opens with the kidnaping of a little 
girl in the East, who is taken to a mining camp 
in Colorado and entrusted to the care of a 
kind hearted Scotch miner. 

At a very crucial moment in the third 
act a tree is struck by lightning. This can be 
made very effective with a simple mechanical 
device explained in the play. 

Penn. 35c. 

94. A Man from Denver.—Frank H. Ber¬ 
nard. 

Comedy drama in three acts— 2% hours; 
three easy interior scenes. 

8 males. 

2 females. 

Jack Manley is accused of theft, convicted, 
and sent to prison. How he escapes and frus¬ 
trates Clare’s villainy, his name being cleared 
on the evidence of Jimmy Blake, the office boy, 
is unfolded in the action of the play. There 
are good parts for the hero, villain, leading 
lady, ingenue, and old man, while Jimmy Blake 
is a very good part. 

French. — 


**See addenda. 


*See addenda. 


I io] 






..Play Catalogue 


DAKOTA 

95. The Town Marshall.—Charles Ulrich. 

Four acts—2% hours. Scenery—Two in¬ 

teriors, one exterior. 

6 males. 

3 females. 

A comedy-drama of a South Dakota town. 
A strong heart story dealing with some pioneer 
conditions. 

Dennison. 25c. 

96. In the Shadow of the Rockies.—Frank 
H. Bernard. 

Three acts. Scenery—One interior, one ex¬ 
terior. Plays a full evening. 

8 males. 

3 females. 

The scene is laid near Deadwood, Dakota, 
and the cast includes the typical “Forty- 
niner,” the stage driver, the western judge, 
the tenderfoot, the typical Western “bad 
man,” the new school teacher, the soubrette, 
etc. 

French. 25c. 


MONTANA 

97. The Honor of a Cowboy.— Charles Ul¬ 
rich. 

Comedy-drama. Four acts—2 1 / 4 hours. Scenes 
—two exteriors, one interior, easy to set. 

13 males. 

4 females. 

A drama of Montana in 1875, the days of 
the rough-riders. The scene in the Red Light 
saloon is the regulation Western “thriller,” 
with cowboys and “bad men” drinking at the 
bar. Cut last page; very crude. 

Denison. 


NEVADA 

98. Nevada or the Lost Mine.—G. M. Baker. 
Three acts. 

8 males. 

3 females. 

Scenes—Inside and outside miner’s cabin in 
Nevada. Rough frontier costumes. 

Baker. — 

99. The Three of Us.—Rachel Crothers. 
Three acts. Two interior scenes. Plays 2y 2 

hours. Costumes modern. 

7 males. 

3 females. 

See under Drama list. 


TEXAS 

100. Somewhere in Texas. —Harry Van De¬ 
mark. 

Melodrama. Three acts—time, 2 1 ,4 hours. 
Scenes—One exterior, two interior. 

10 males. 

5 females. 

Penn. 35c. 

101. The Girl from “L” Triangle Ranch.— 

Frank Dumont. 

Texas border drama. Three acts—time, 2% 
hours. 

10 males. 4 females. 

Supernumeraries. 

Scenes not difficult for amateurs. Costumes 
picturesque, cowboys and girls, Indians. 

Penn. 35c. 

102. A Texas Ranger. —Harry Van Demark. 
Three acts—time, 2% hours. Scenes—One 

exterior, one easy interior. 

7 males. 4 females. 

Billy Driscoll, a Texas Ranger, comes to 
Guacho, on the Texas border, disguised as a 
ranchman in order to capture a band of 
“rustlers.” 

Typical wild west characters—the villain, 
Pepita, the Mexican girl, Tess, the daughter 
of the wealthy ranch-owner. 

Penn. 35c. 

103. The Texan. —Harry Van Demark. 
Melodrama in four acts—time, 2 ^ hours. 

Scenes—Three easy interiors, one exterior. 

9 males. 

4 females. 

Supers. 

A good play for amateurs who like the west¬ 
ern setting, ranch life, U. S. uniform and a 
few Indians. 

Penn. 35c. 

104. The Man from Texas.—B. F. Moore. 

Farce in one act—25 minutes; scenery simple. 

2 males. 2 females. 

An easy and amusing farce for young people. 
The “Texas desperado” is a good part. 

Baker. 

NEW MEXICO 

105. For the Love of Johnny. —Harry Ham¬ 
ilton. 

Three acts—2% hours. Scenes—One interior, 
one exterior. 

6 males. 

3 females. 

The character of the priest, Father Ryan, is 
very appealing and well written. Several other 
good parts. Royalty, $10 for amateurs. 

Locale—New Mexico. 

Denison. 50c. 


[ 17 ] 




Play Catalogue 


WESTERN PLAYS 

106. Triss or Beyond the Rockies. —J. Adams. 

Four acts. Scenery—Three interiors, one ex¬ 
terior. Plays a full evening. 

8 males. 

4 females. 

The cast contains four low comedy and char¬ 
acter parts. T’riss is a “rough soubrette.” 

Baker. 25c. 

107. Out West. —J. Adams. 

Melodrama in four acts. Scenery varied. 
Plays a full evening. 

9 males. 

5 females. 

Strong lead, heavy and character parts. Ray, 
the heroine, a dashing soubrette, Irish and 
Yankee comedy. 

Baker. 25c. 

108. Taro Nell.— W. Steell. 

Sketch in one act—20 minutes. Scenery—A 
picturesque interior. 

6 males. 

1 female. 

Costumes, Mexican and frontier. 

A serious Western play, but exceedingly 
humorous, played in a burlesque key. 

Baker. 25c. 

109. The Mountain Waif.— C. Townsend. 

Four acts—two hours, twenty minutes. Scen¬ 
ery—Two interiors, one exterior. 

9 males. 

3 females. 

A typical Western play, containing an abund¬ 
ance of character parts. 

Baker. 25c. 

110. On the Little Big Horn. —See American 
History Plays. 

111. Little Buckshot. —Charles Townsend. 

Melodrama in three acts—time 2% hours. 

Scenes—Two interiors, one exterior. May be 
played on any stage without special scenery. 

Characters: Danny Mack, scout, known as 
Little Buckshot; Mr. Brown, a Mormon; Simon 
Slade, one of the “destroying angels”; Hon. 
Ira Barton, a Bostonian; Juniper Weed, an in¬ 
ventor; Patrick Phelan, handy man; Zeb. 
Tucker, a driver; Elsie Barton; Kit, her sister, 
Nora, a servant; Wild Flower, an Indian girl. 

7 males. 

4 females. 

Denison. 


WYOMING 

112. The Girl from Upper Seven.—G. R. 

Bridgham. 

Comedy in three acts—plays two hours. Scenes 
—An easy interior. 

10 males. 

11 females. 

The building of the W. R. & C. R. R. across 
a corner of lower 7 Ranch brings about a 
state of war between the contractor’s party and 
the ranchmen at a time when McShane, the 
head of the former’s forces, is ill and incapable. 
His daughter, Genie, takes charge and by dint 
of sheer feminine pluck and resourcefulness 
saves the situation. A good Indian girl part 
and a large cast of ladies with “opportunity for 
pretty dressing.” 

Baker. 35c. 

113. The Ranchman.—Harry Van Demark. 
Melodrama in four acts—time, 2% hours. 

Scenes—Easy interiors and two simple exteriors. 
9 males. 

4 females. 

Supers. 

A typical cowboy play. 

Penn. 35c. 

114. Lucky Gulch.—Charles S. Bird. 

Three acts—two easy interior scenes. 

7 males—two doubles, if desired. 

4 females. 

A western drama with an Eastern prologue. 
A story of love and gold seeking. 

French. 

115. Little Trump.—A. L. Fisher. 

Three acts—scenery varied but easy. Plays a 
full evening. 

7 males. 

4 females. 

A typical Western drama with a soubrette 
lead—two heavy characters, one a Mexican; 
comedy parts and character bits. 

Baker. 25c. 


PLAYS OF THE “OLD SOUTH” 

116. Old Days in Dixie.—Walter Ben Hare. 
Comedy-drama in three acts—plays 2% hours; 
scene, a single interior. 

5 males. 

8 females. 

A strong play with a genuine Southern atmos¬ 
phere written wholly from the Southern point of 
view. Royalty, $10 for the first performance; 
$5 for each subsequent one. 

Baker. 35c. 


[ 18 ] 



Play Catalogue 


117. Shadows. —Mary Moncure Parker. 

One act—35 minutes; interior scene. 

3 males. 

4 females. 

Play of the South today and a dream of the 
past. Good leading part and philosophical old 
mammy, good character part. 

Denison. 25c. 

118. Alabama. —A. E. Thomas. 

*See list of American Play Co. in this cata¬ 
logue. 


FLORIDA 

119. The Fantasy of Youth. — Constance 
Mackay. 

A fantasy written on the theme of Ponce de 
Leon, who is one of the characters, and his dis¬ 
covery of the Fountain of Youth in Florida. 

In “Plays of the Pioneer,’’ Henry Holt. 


GEORGIA 

120. A Fan and Two Candlesticks. —Mary 
McMillan. 

Costume play, Colonial times—one act, 20 to 
30 minutes. Scene, interior. 

2 males. 

1 female. 

Written in rhymed couplets (of the Georgian 
period but suitable in a program of early days 
in Georgia.) 

In “Short Plays.’’ (Stewart, Kidd & Co.) 
Also published in separate form (see One Act). 


KENTUCKY 

121. The Daniel Boone Pageant. —Clifton 
Lisle. 

An entertainment in five scenes. Time, one 
hour and forty-five minutes. 

Scenes, exterior; costumes historical; descrip¬ 
tions given for making in the play. 

9 males. 

1 female. 

Supers. 

The scenes show the great American pioneer, 
Daniel Boone, as a boy, then later on the way to 
Kentucky, trapping in the woods, fighting the 
Indians, and then making a treaty with them, 
building Boonesborough, raising the new Ameri¬ 
can flag, etc. 

Penn. 25c. 


122. The Night Riders. —Frank Dumont. 
Melodrama in three acts—two hours and forty- 

five minutes—scenery arranged for amateurs— 
costumes easy. 

12 males. 

5 females. 

Character parts include a Hebrew, eccentric 
Yankee, colored politician, humorous old maid, 
and minor darkey characters. 

Penn. 25c. 

On a Kentucky Stair Case. —Cecilia M. Young. 
An episode in one act to be acted on any stair¬ 
case. Time, 20 minutes. 

3 males. 

3 females. 

Period, 1862—Bowling Green, Ky. 

See Home Dramas in this catalogue. 

123. In Old Kentucky. —See lists of plays of 
American Play Co., in this catalogue. 

124. A Kentucky Belle. —T. Bell Chambers. 
Southern Comedy in three acts. Time, 2 hours. 

One scene, an easy interior. Modern costumes. 

8 males. 

7 females. 

Some minor parts, a few words each. 

Ends with everybody happy, singing “My Old 
Kentucky Home.’’ 

Penn. 35c. 


LOUISIANA 

125. Madretta. 

a. play of the people. Tale of a sad couple in 
a Louisiana bayou, whose ill assorted love was 
ended melodramatically by a flood. 

One act. 

2 males. 

1 female. 

126. Addio. 

A play of the people. An organ grinder comes 
seeking the girl of his heart who flaunts him, 
with nose in the air, amid her city surroundings 
and friends, and, broken hearted, he goes away 
without speaking, his organ playing L’addio in 
the distance. 

Stark Young, in Three Plays. Stewart & Kidd, 
Cincinnati, Ohio. $1.35. 

127. Danse Calinda. 

A Creole study, with old New Orleans setting. 
See Pantomine list. 

128. Miss Nelly of N’Orleans. 

See list of drama for advanced amateurs un¬ 
der American Play Co. publications. 


[ 19 ] 


^Addenda. 




Play Catalogue 


MARYLAND 

Barbara Fretchie. The Girl of Frederick 
Town. 

See Drama list—advanced amateurs—French 
publication. 


MISSISSIPPI 

129. The Gentleman From Mississippi.— 

American Play Co., New York. 


MISSOURI 

130. The Crisis. 

Story of old St. Louis during the Civil War; 
founded on W. Churchill’s novel. 

American Play Co., New York. 

131. In Missouri —A. E. Thomas. 

Nat Goodwin’s great role: Jim Radburn, the 
sheriff. 

French & Co. 50c. 

132. Along the Missouri. —Harry Van De¬ 
mark. 

A rural western melodrama in 4 acts. 

6 males. 

3 females. 

Three hours, 2 interiors, 2 exteriors. 

The part of John Watson, a rising young law¬ 
yer and candidate for the legislature, offers ex¬ 
cellent opportunities, and Virginia, his sweet¬ 
heart, whose father is opposed to John politi¬ 
cally, is a strong part. 

Penn & Co. 35c. 


CAROLINA* 

133. Dianthe’s Desertion. —Helen Kane. 

One act. 

4 females. 

Interior, colonial costumes—during seige of 
Charleston, 1780. 

Penn & Co. 25c. 


TENNESSEE 

134. On Vengeance Height. —Allan Davis. 
One act—plays 30 minutes; cabin interior; 
modern mountaineer costumes. 

2 males. 

2 females. 

A character play laid in the mountains of Ten¬ 
nessee, a wild atmosphere pervading the action. 
30c. 


* Addenda. 


135. A Cabin Courtship.—Irene Jean Cran¬ 
dall. 

Three acts. Time, 2 hours; scene, 1 interior. 

5 males. 

4 females. 

The action takes place in a remote cabin in 
the mountains of Tennessee. The cast is well 
balanced; the characters are good; the story is 
dramatic, in an unusual setting. 

Dennison. 35c. 

136. The Moonshiner’s Daughter.—B. F. 

Moore. 

Three acts, 1*4 hours; scenery easy. 

5 males. 

3 females. 

An easy melodrama suited for young people. 

Baker. 35e. 

137. — Moonshine. Arthur Hopkins. 

One act—plays 40 minutes, 1 interior. 

2 males. 

A revenue officer introduces himself into the 
very midst of a dangerous band of moonshiners 
and beats them at their own game. A good play 
for older boys and young men. 

French. 35c. 


VIRGINIA 

Held by the Enemy. 

Scene laid in Richmond, Va. 

See list of American history plays—Civil War 
period. 

Secret Service. 

Scene laid in Richmond, Va. 

See list of American history plays—Civil War 
period. 

138. A Virginia Heroine. —S. G. McGlone. 

Comedy, 3 acts, 1 hour and 45 minutes; scen¬ 
ery, easy. 

11 females. 

Irish and Negro comedy parts, and two charac¬ 
ter parts; most of the characters young. Suit¬ 
able for schools. 

Baker. 35c. 

139. The Thread of Destiny. —Lindsey. 

Comedy-drama of the Civil War in three acts. 

Time, 2*4 hours. Scenes, one interior, two ex¬ 
teriors. 

9 males. 

16 females. 

Characters—Jack Bailey of the U. S. Army; 
Beverly Montgomery, a Confederate scout; Col¬ 
onel Montgomery, a gentleman of the old school, 
etc. 

Dennison. 


[ 20 ] 




Play Catalogue 


KANSAS 

140. A Prairie Rose.—Edith F. A. U. Painton. 
Four acts, 2^ hours. Scenes, one exterior, 

three interior. 

A comedy-drama of the Kansas prairies. 

7 males. 

4 females. 

Dennison. 25c. 

141. The Kansas Immigrants. —T. S. Denison. 
Hilarious farce—two scenes; time, 20 minutes; 

scene, interior of a shanty in Kansas. 

5 males. 

2 females. 

Contains two darky “ Exodusters, ’ ’ early 
settler and wife, cowboy (to make up as an In¬ 
dian), and a Boston swell. An old favorite. 
Dennison. 15c. 


SOUTH-WEST 

142. An Old Sweetheart of Mine. —Owen 
Davis. 

Comedy-drama, four acts; time, 2 1 /4 hours; 
scenes, one interior, one exterior. 

8 males. 

4 females. 

The color and romance of ranch life form a 
background for a dramatic love story, 4 he 
comedy element is supplied by two cowboy types. 

French. 30c. 


“DOWN EAST’’ LOCALE 

143. Among the Breakers. —G. and M. Baker. 
Two acts; time, 1 hour 40 minutes. One scene, 

interior of light-keeper’s house. 

6 males. 

4 females. 

Old man, Irish and Negro males; soubrette and 
Irish character for ladies. 

Baker. 25c. 

144. An Old Fashioned Mother. —Walter Ben 
Hare. 

Three acts; time, 2 % hours; one scene, a sit¬ 
ting-room. 

6 males. 

6 fGD18/lcS» 

Also a village choir or quartette, and a group 
of silent villagers. 

Rural New England atmosphere. 

Dennison. 25c. 

145. Captain Kidd, Jr.— See Drama list. 
Several scenes in a Cape Cod village. 


VERMONT 

146. Chums. —By the author of Class Day. 

College farce; one act; scenery and costumes 

easy. 

3 males. 

2 females. 

Vermont rustic characters. 

Baker. 25c. 

147. A White-Mountain Boy. —Charles Town¬ 
send. 

Melodrama; live acts; time, 2 hours and 20 
minutes; one exterior, three interiors. 

7 males. 

4 females. 

3 supers. 

A country lad saves the life of a banker’s 
daughter, which results in their betrothal. A 
scoundrelly clerk has the banker in his power, 
but the White Mountain boy finds a way to 
checkmate his schemes. 

Penn. 35c. 


NEW HAMPSHIRE 

148. The Old New Hampshire Home. —Frank 
Dumont. 

Three acts; 2 hours and 30 minutes; two ex¬ 
terior scenes; one interior; all easy. 

7 males. 

4 females. 

A rural drama of “The Old Homestead’’ and 
“Way Down East’’ type. 

Penn. 35c. 

149. New Hampshire Gold. —K. E. Rand. 

Three acts; time, 2 hours; scenery easy. 

8 males. 

6 females. 

Melodramatic interest, though the general at¬ 
mosphere is domestic. 

Baker. 25c. 


MAINE 

150. Down in Maine. —C. Townsend. 

Four acts; plays a full evening; scenery easy. 
8 males. 

4 females. 

Contrasts two brothers, one a rich city man, 
the other a contented farmer. 

Baker. 25c. 


CONNECTICUT 

151. At Yale.— See College plays in this cata¬ 
logue. 


[ 21 ] 



Play Catalogue 


MASSACHUSETTS 

The Courtship of Miles Standish. —See list of 
American Historical plays. 

French. 

152. In Good Old Colony Times. 

9 males. 

4 females. 

Scenes laid in Sudbury, Mass.—1764. 

French. 

Lexington. —See list of American history plays 
in this catalogue.* 


RHODE ISLAND 

153. Stop Thief. 

Scene laid in Providence. 

See Drama list. 

French publication. 


PENNSYLVANIA 

Mistress Penelope. 

One act—a schoolroom scene in Pennsylvania. 
Costumes of the Revolutionary period. 

4 males. 

1 female. 

See American history list. 

Penn. 25c. 

154. The Lady From Philadelphia. —Helen 
Hoyt Sherman. 

Farce in one act. Scene, a dining-room; time, 
40 minutes. Costumes, modern. 

3 males. 

5 females. 

Janet Osborn, who can cook, volunteers to 
cook a dinner at which she was to have been a 
guest. Lieut. John Hopeton, who has counted on 
proposing to her at the dinner, helps her to pre¬ 
pare it, and finally wins her. 

Penn. 25c. 

155. Tilly. —See Drama list. 

A story of a Mennonite settlement in Penn¬ 
sylvania—very quaint and delightful. 

American Play Co. 

See Colonial and Revolutionary lists in Ameri¬ 
can Drama. 


WASHINGTON 

156. The First Lady of the Land. —C. F. 
Nirdlinger. 

See Drama for advanced Amateurs in this cat¬ 
alogue. 

Baker publication. 


157. The Man From Nevada. —Chas. Ulrich. 
Comedy-drama; four acts; time, 2*4 hours; 

scenes, easy interiors. 

9 males. 

5 females. 

A page from Congressional and society life in 
which the intrigues of an international scoundrel 
are defeated by an efficient western American. 
Scene laid in Washington. 

Dennison. 25c. 

158. The Little Grey Lady. —See drama list 
for advanced amateurs in this catalogue. 


NEW YORK 

159. The Headless Horseman. —Arranged by 
C. S. Griffin. 

Based on Irving’s “Legend of Sleepy Hol¬ 
low.’’ Takes half an hour. Costumes and scen¬ 
ery very simple. 

Penn. 25c. 

160. The Valley of the Mohawk. —See Ameri¬ 
can history list. 

Iroquois and Algonquin tribes—Dutch settlers 
—priests and soldiers; Father Jogues, etc. 

Three acts, seven scenes. By a member of 
Presentation Order—St. Michael’s—New York. 

161. Rip Van Winkle. —From Washington 

Irving’s drama. 

Two acts. 

8 males. 

4 females. 

French. 30c. 

162. Yat-Che-Ka. —Indian play of the Erie 
tribe. Play of Niagara Falls. 

See Indian plays. 

List of plays of New York City locale to be 
found in Drama list in this catalogue. 


MIDDLE WEST 


ILLINOIS 

163. The Long Knives in Illinois.—Alice 
Johnston Walker. 

George Rogers Clark, the frontiersman, is the 
leading character. There is a long cast of char¬ 
acters. 

The Long Knives in Illinois, and other plays. 
Henry Holt. $1.75. 

164. The Illini Trail. —Cecilia Mary Young. 
Scenes from Illinois history, beginning with 

the coming of the missionaries and continuing 
to the celebration of the centenary of statehood. 


[ 22 ] 


* See addenda under Massachusetts. 




Play Catalogue 


INDIANA 

165. Alice of Old Vincennes. —See Drama list 
of American Play Co., in this catalogue. 

166. The Man From Home. —See Drama list 
of American Play Co., in this catalogue. 


MICHIGAN 

The Little Father of the Wilderness. —See 

Drama list of American Play Co. 


MINNESOTA 

The Arrow Maker’s Daughter. —The Story of 
Hiawatha. 

See Indian and American history. 

French publication. 

167. The Passing of Hiawatha. 

In Plays of the Pioneers—Constance D’Arcy 
Mackay. 

Harper’s. 


OHIO 

168. The Country Cousin. —Booth Tarkington 
and Harry Leon Wilson. 

Locale, a small town in Ohio. Sec Drama list. 
French, and American Play Co. 

169. The Pioneers. —Mary McMillan (sec 
American). 

Five very short acts; interior; 1791 in middle 
west. 

4 men. 

5 women. 

5 children. 

5 Indians. 

Stewart & Kidd. 


170. The Gypsy Trail. —Robert Housman. 

A romance of 1917, Ohio locale. 

See drama list. French publication. 

WISCONSIN 

171. The Neighbors. —Zona Gale. 

One act; time, 45 minutes; scenery and cos¬ 
tumes not difficult. 

2 males. 

6 females. 

A picture of Wisconsin village life. 

Baker. 55c. 


AMERICAN PROVINCES 
PANAMA 

The Zone Police. —Richard Harding Davis. 
For 4 men. 

See Male Characters Only, in this catalogue. 


ALASKA 

The Brink of Silence. —See under one-act 
plays. 


CANADA 

The Royal Mounted. —Cecil B. de Mille. 

Four acts—one interior, three exteriors. 

11 males. 

2 females. 

A thrilling drama of the Canadian Northwest. 
French, and American Play Co. 60c. 


CENTRAL AMERICA 

The Dictator. —Richard Harding Davis. 

A good farce. Central American locale and 
characters. (See farces.) 


123 ] 



Play Catalogue 


ALLEGORICAL PLAYS 


The Master. —Padraie Pearse. 

Seven principal characters—the Master, the 
King, St. Michael, four boys, and any number 
of extras. 

In Padraie Pearse’s works—Talbot. 

Hunger. —Eugene Pillot. 

4 males; 1 female—the Beggar, the Poet, the 
Girl, the Man, the Satisfied One. 

Harvard Plays—The 47 Workshop. 

The Miracle of the Corn. —Padraie Colum. 

See under Miracle Plays. 

Iosagan. —Padraie Pearse. 

One act. Characters: An old man, any num¬ 
ber of boys, one small boy who represents Our 
Lord (Isogan). 

A beautiful little play, if reverently done, 
ommitting the last act, which is anti-climax. 

In Works of Padraie Pearse. Talbot Press, 
Dublin. 

The Travelling Man. —Lady Gregory, in Seven 
Short Plays. 

See Irish Plays. 

McMillan. 

Every Soul. —Rev. J. F. X. O’Connor. 

Allegorical Operetta —17 characters, and 
extras; all exterior settings suitable for out-of- 
door presentation. 

Fischer, N. Y. 50c. 

Experience. —George V. Hobart. 

A feature of one of Lambs’ Club Gambols and 
since revived with enormous success. In the 
original production the parts were taken by 
men. 

Baker. $1.60. 

See list of Mystery or Miracle Plays, also Re¬ 
ligious Plays.* 

ALSACE-LORRAINE—Plays of 

The Bells —which introduces the songs, dances, 
and ancient customs of Alsace (adapted from 
The Polish Jew, a dramatic study, by M. Erck- 
mann Chatrian), by Leopold Lewis. 

10 males. 

2 females. 

1% hours. 

Court scene with judge, jury, etc., and two 
peasant interiors. Costumes Alsatian; period, 
December 24 and 26, 1833. 


A Polish Jew is murdered one snowy night by 
the inn-keeper. After fifteen years on the night 
of his daughter’s marriage, the inn-keeper is al¬ 
most led to reveal his secret through a dream in 
which the Jew returns to accuse him of the deed. 

Famous play. Acted by many great actors. 

French, in Henry Irving edition, 30c. 

Also published by Penn. 25c. 


ARABIA—Plays of 
The Jar of Olives. 

Play in four acts from Arabian Nights. 

13 males. 

3 females. 

Costumes oriental. Three interiors — 40 
minutes. 

Ali Cogia departs to make his fortune. Upon 
his return he finds his treasure stolen and his 
beloved about to marry his friend, Houssain. 
The trial reveals Houssain’s treachery. 

Penn. 25c. 

The Copper Tea Kettle. —Two scenes (F. 

Healy). 

8 males. 

5 females. 

Scene—Oriental street; 30 minutes. Royalty, 
$5 performance. 

Abdallah, the Generous, borrows of Basid, the 
Avaricious, his copper pot for the entertainment 
of his guests and by a piece of Oriental ingenu¬ 
ity becomes its possessor. 

Baker. 25c. 

The Tents of the Arabs. —Dunsany. 

8 male characters. 


AUSTRIA—Plays of . 

Vengeance Is Mine. 

Drama—4 acts; 14 males, 3 females and a 
little girl. 

First part of play is laid in Styria. A play of 
the people of the soil. 

Herder. 25c. 


BOHEMIA 

The Red Mask or The Wolf of Bohemia. 

Melodrama; 3 acts, by Brougham. 

7 males, 4 females, and extras. 

French. 25c. 


[ 24 ] 


* See addenda. 





Play Catalogue 


BLIND—Plays for the 

1. Eileen Aroon. —C. M. Young. 

A short play to be acted by the blind for a 
blind audience. 

2. Golden Hope. —Gladys R. Bridgham. 

Time about two hours: for 9 female charac¬ 
ters; costumes, modern; settings, simple. 

There is an excellent chance for good acting 
in the character of the blind girl. 

Penn. 35c. 

3. Young Mrs. Winthrop. 

Character for a blind girl. 

See Drama. 

4. King Rene’s Daughter. —Adapted by Hon. 
Edmund Phipps. 

One act: costumes, 1450; time, 1*4 hours. One 
exterior scene. 

It poetically describes how Count Tristan 
wooed the blind daughter of King Rene, and 
how she afterwards recovered her sight through 
the services of a Moorish physician. 

25c. 

5. The Sight of the Blind. — Daniel A. 
Lord, S. J. 

2 females (one blind). 

1 male. 

Chorus of nuns’ voices. 

St. Louis University, St. Louis. 


PLAYS FOR BOYS 
FRENCH & CO. 

1. Cox and Box. 

3 characters. Landlady can be played by boy. 
See Farces in this catalogue. 

2. A Very Pleasant Evening. 

3 characters. 

See Farces. 

3. Cast, King of Granada. 

10 characters. 

To be played by boys; burlesque farce. 

4. Music Hath Charms. —Gerald Pioneer. 

One act skit. Time, 45 minutes; one interior 

scene. 

10 to 16 male characters. 

Gerald Remsen, the star pitcher of Montauk 
College, has suddenly been smitten with the 
charms of a pretty face. The student body feel 
it incumbent on them to make him forget her 
and put his mind on the game. This is accom¬ 
plished in a series of humorous incidents. 


5. The Perry Boys.— Harold Strong Latham. 

Three scenes. Time, 1 hour. 

10 boys. 

A number of boys have formed a club, taking 
as their slogan Perry’s words, “Don’t give up 
the ship.’’ They are determined to accomplish 
something for the good of the little town in 
which they live. 

6. The Man Without a Country.— 

See American Plays in this catalogue. 

7. Dramas for Boys. —Miss Keating. 

A series of comedies comprising “Incog,” 
“The Poor Relation,” etc. 

50c. 

8. The Thirteenth Domino. — Harold S. 
Latham. 

One act. A play which is fun to give, and at 
the same time will interest the spectator. 

30c. 

9. Under the Flag.— 

See War Plays in this catalogue. 

10. The Tenderfoot. —Elva Sawyer Cureton. 

One act—one simple out-door scene. 

7 boys. 

A lively out-of-door comedy, affording oppor¬ 
tunity for all sorts of stunts. A vein of comedy 
runs throughout. 

30c. 

11. Allatoona.— 

Girls’ parts to be played by boys. 

See Civil War list. 

25c. 

12. The Making of Larry.— 

Boy Scout play; two exteriors, II boys and 
extras for drills. 

25c. 

13. Gassed. —Bessie Springer. 

Comedy. One act, for 5 boys; one interior; 
40 minutes. 

A romping comedy for high school boys, about 
the lighter side of undergraduate life at a mid¬ 
dle western university; easy to produce. 

30c. 


Plays by the Rev. P. J. Carroll, C. S. P., 226 
N. Hill Street, South Bend, Ind. 

School Plays Pub. Co., South Bend, Ind. 

14. The Ship in the Wake. 29 boys, 3 acts. 
50c. 

15. Ted. 30 characters, 3 acts. 50c. 

16. The Saving of Pug Walley. 20 boys 3 
acts. 50e. 


[- 85 ] 




Play Catalogue 


17. Vacation. —Chas. Townsend. 

A comedy in two acts. 11 boys. The Dra¬ 
matic Publishing Co., Chicago. 

18. Rocking Jimmy. Play for small boys— 
12. Mercedes, St. Xavier Academy, Beatty, Pa. 

19. The Musical Piddle. Rev. Father Sheri¬ 
dan, S. J., care St. Ignatius College, 1076 W. 
Roosevelt Road. 


Plays by Anthony Matre, K. S. G., 76 W. Lake 
Street, Chicago, Ill. 

20. The Living Statue. Comedy, 4 acts, 11 
principal parts. 40c. 

21. Down You Go. Comedy, 1 act, 10 princi¬ 
pal parts. 20c. 

22. Tarcisius. Drama in one act and two 
scenes; 9 boys. 20c. 

23. St. Lawrence. Sacred drama. See Re¬ 
ligious plays. 

24. The Babbler. Drama in one act; 5 boys. 
By Mrs. James Sadlier. 20c. 

25. The Elder Brother. In two acts; 7 

boys. 20c. 

26. The Invisible Hand. In two acts; 7 

boys. 20c. 

27. Tim Carthy’s Trial or Whistling at Land¬ 
lords. Play in 3 acts; 28 characters. 25c. 

28. Louis J. H. Stratford. Four acts; 14 

males and extras. 25c. 

29. Laurence and Xystus. Drama, 5 acts, 

19 characters. 25c. 

30. Young King Cole —A highly amusing one 
act play for boys from 6 to 14 years; 30 princi¬ 
pal characters. By dementia. 30c. 


The following published by B. Herder, St. 

Louis, Mo. 

31. Echoes from Bethlehem. Francis Finn. 
See Christmas plays. 

32. Gracia Morena. See South America. 

33. Lucius Flavius. See Religious Plays. 

34. Crowns and Palms. See Religious Plays. 

35. Lioudolf. See Historical Play list. 


36. The Choristers’ Christmas Eve. Michael 

Earls, S. J. See Christmas list. Fifteen princi¬ 
pal characters and any number of extras. 

37. The Prince of Fez. For 18 male char¬ 
acters and 3 female characters, which can be 
taken by boys. Drama in 3 acts adapted from 
Don Claderon de la Barca by Rev. P. Kaenders. 

38. Caritas Coronata. From Fabiola. For 8 
or more boys. 

39. Caritas Poenitens. (St. Columbkill). For 

10 boys. 

40. Caritas Cum Fide or The Sculptor’s Faith. 

For boys. 

41. Joseph of Egypt. For 24 boys. 

The above dramas by Sacedos, care St. 
Michael’s Academy, Chatham, N. B. Price 25 
cents each. Note: The above dramas for boys 
were written for children about 12 years, but 
may also be adapted to suit older boys. 


Plays for boys by Padraic Pearse, who taught 
Irish history by means of these plays in his 
school for boys at Rathfarnham. 

42. The King. For large and small boys. 
Any number may take part. 

43. The Master. The master, the Danish 
king, the messenger and the archangel should be 
older boys. A number of speaking parts for 
small boys. A beautiful allegory. 

44. Iosagan. See One-act plays. 

These are to be found in the works of Padraic 
Pearse, Talbot & Co., Dublin. 

* 

45. Allison’s Lad. —By Beulah Dix. 


The following published by Baker & Co., 25c 
each. 

46. The All-American Eleven. Entertain¬ 
ment. One scene by M. N. Beebe for 12 boys. 
Scenery unnecessary; 15 minutes. 

47. April Fools.. Farce. One act. W. F. 
Chapman; 3 boys; one interior; 30 minutes. Full 
of fun. No scenery required. 

48. The Blow-Up of Algernon Blow. Farce. 
Two acts. V. M. Criss. For 8 boys; one in¬ 
terior—plays 35 minutes. 

Blow, who has told big stories of adventure, is 
finally entrapped into fighting a duel with Jones. 
He is thus led to see what might happen to him 
and backs down. 


* See One Act. 


[ 26 ] 




Play Catalogue 


49. The Boy Scouts. W. B. Hare, play. Three 
acts; 20 boys; scenery unimportant, scout cos¬ 
tumes. Plays 2 hours. Lots of characteristic 
fun and stunts. 

50. Boys Will Be Girls.— S. F. Johnson. 

Extravaganza. One act; 24 girls’ parts to be 

played by boys and two other boys’ parts. Scen¬ 
ery unimportant. Costumes eccentric. Steady 
flow of funny lines and grotesque humor in both 
situations and action. One hour. 

51. Freedom of the Press. Farce, one act. 
G. M. Baker. Eight boys, including Irish and 
Yankee comedy parts. Thirty minutes. 

52. Gentlemen of the Jury. Farce, one act. 
G. M. Baker. Twelve boys, including Irish and 
Negro comedy parts. Scene, plain room; 30 
minutes. 

53. The Great Elixir. Farce, one act. G. M. 
Baker. Nine boys, including Irishman, deaf 
man, etc. Interior; 30 minutes. 

54. A Half Back’s Interference. M. N. 

Beebe. Farce, one act; 10 boys; scenery unim¬ 
portant—10 minutes. 

Drew, rusticating at Hiam Pepper’s farm, 
is able to show him the advantage of a college 
education by saving him from a swindler, and 
so wins his consent to sending his son to college. 
Very easy; all the parts good. 

55. Here She Goes and There She Goes. 

Farce, one act. G. II. Coes. For 8 boys and 
one girls’ part to be taken by boy. Scenery 
simple. Costumes eccentric—25 minutes. 

Bill Cheatem and Jack Fleecum invent a 
scheme to get their dinner for nothing. Can be 
played black or white face. 

56. His Father’s Son. —G. R. Bridgham. 

Comedy, 3 acts; 14 boys; two interiors—1 % 

hours. 

Douglas Doyle discovers that he is being sup¬ 
ported at school in luxury by the self sacrifice 
of his father. He leaves school at once, though 
by so doing he falls under suspicion of theft, 
gets a trial assignment on his father’s paper, 
makes a big “scoop” and is finally set right. 
35c. 

57. Hypnotism. —N. Bent. 

Farce, one act, 3 boys and 8 female parts, all 
intended to be played by boys. Adapted for 
school. Irish and Negro comedy parts. Scen¬ 
ery unimportant. Plays 15 minutes. 

58. A New Start. —C. A. Pellanus. 

Comedy, 4 acts, 7 boys and 2 girls’ parts in¬ 
tended to be played by boys. Two interiors —lVz 
hours. 


59. On the Quiet.—G. R. Bridgham. 

Comedy, 2 acts, 12 boys. 

Some Dartmouth freshmen, camping out, be¬ 
come the victims of a practical joke by one of 
their number. They discover a note telling of 
a murder in the woods ,and in their pursuit of 
the criminal they get a lot of inoffensive people 
into a sad mixup with the aid of Jeremiah Hinks, 
rustic Sherlock Holmes. Price 35c. 

60. The Poets’ Club.—M. M. Beebe. 

Farce, one act, 14 males (for young boys). 
Scenery unimportant—35 minutes. Characters 
of Irishman, Swede, pugilist, tramp, negro and 
farmer. 

61. A Regular Rah Rah Boy.—G. R. Bridg¬ 
ham. 

Comedy, 3 acts, 14 boys; 2 interiors; 1% hours. 

Story of football politics. Fred Williamson’s 
unexpected talents as a photoplay comedian get 
him into all kinds of trouble. Lively and 
bright. 35 cents. 

62. A Regular Scream.—G. R. Bridgham. 

Comedy, 2 acts, one interior—1% hours. 

The heir to an European throne comes to Har¬ 
vard incognito and while he is being initiated 
into a secret society at the bungalow of Myles 
Winslow, Myles’ father, w r ho disapproves of se¬ 
cret societies, unexpectedly turns up. Colored 
comedy part. 35 cents. 

63. The ScoutMaster.—Walter Ben Hare. 

Comedy-drama, 3 acts. For 10 boys. One ex¬ 
terior—2 hours. Introducing songs, drills and 
all sorts of characteristic stunts. 

64. The Speed Limit.—E. M. Gould. 

Sketch, 2 scenes, for 5 boys. Scenery unneces¬ 
sary—20 minutes. A good-natured skit on auto- 
mobiling. Easy to get up, requiring no scenery 
or stage. 

65. Chums. (See Farces.) 

Farce, one act. The tw r o female parts can be 
taken by boys, making a total of 5 characters. 

66-75. Ten Boys’ Farces.—E. M. Peixotto. 

With an introduction on impromptu dramatics. 

Contains Ding-a-ling, (3 boys; The Last Re¬ 
hearsal, 6 boys; Rosie, the Girl from Paris, 9 
boys; Teacher’s Pet, 7 boys, pupils ad lib.; 
Lost But Found, 8 boys; Political Promises, 6 
boys; When the Cat is Away, 7 boys; The Evil 
That Men Do Lives After Them, 3 boys; Chips 
Off the Old Block, 4 boys; The Tramp Barbers, 
7 boys. 35 cents. 

76. Ten Plays for Boys.—G. M. Baker and 
others. 

Hypnotism, Great Elixir, Freedom of the 
Press, Humors of the Strike, New Broom Sweeps 
Clean, 6 boys; Julius Caesar, 10 boys; etc. 35c. 


[ 27 ] 




Play Catalogue 


77. A Tender Attachment.—G. M. Baker. 
Farce, one act, • one interior—40 minutes. 

Seven boys, including Irish, French, Dutch and 
Yankee parts. 

78. The Thief of Time.—G. M. Baker. 

One-act farce for 6 very young boys. No 

scenery required—20 minutes. 

Bay puts off work till the last minute and 
finds he is not able to get it done. 

79. Too Clever By Half.—By C. A. Pellanus. 
Comedy, 3 acts, 6 boys and 2 female parts 

intended to be played by boys, two interiors— 
1^4 hours. 

80. The Turn in the Road.—G. R. Bridgham. 
Comedy, 2 acts, for 9 boys, one interior— iy 2 

hours. 

Hiram Skinner’s cow gets mixed up with some 
university students and brings about the fact 
that the most insignificant “grind” is about the 
best man in college. 

81. Two Gentlemen in a Fix. 

Sketch, one act, 2 boys. Simple scenery—20 
minutes. 

82. Wanted, a Pitcher.—N. Beebe. 

Farce, one act, 11 boys. Scenery not im¬ 
portant—30 minutes. 

Dewberry, crack pitcher of the home nine, is 
released by strict father from a haying job at 
the farm when one of the college players shows 
the elder Dewberry how to win the country 
championship at checkers. Hebrew, Irish, Ital¬ 
ian and “hayseed” comedy parts. 

83. What They Did for Jenkins.—H. Hale. 
Farce, 3 acts, 14 boys. Scene an easy interior 

the same for all acts. Plays 2 hours. Very 
humorous and always successful. 25c. 

84. Aboard a Slow Train in Mizzoury.—W. B. 
Hare. 

Farcical entertainment, 3 acts, 8 males, 14 fe¬ 
males, played by boys. Scene—Interior of a 
passenger car. Plays full evening. 

85. Two Strikes.—T. H. Guild. 

Comedy, two acts, dealing with baseball, for 
6 boys, i girl—can be played by boy. Two in¬ 
teriors. Easy and can be relied on to please. 

86. Master Pierre Patelin.— (Translated from 
the French by Prof. R. T. Holbrook). 

Farce in 3 acts, 4 males, 1 female—can be 
played by boy. Scenery simple. Costumes of 
period—1 y 2 hours. 60c. (See note to this under 
French.) 

87. A Telegram from Dad.—J. M. Taylor. 
Farce, 1 act, 6 male parts, 1 girl—can be 

played by boy. One interior—30 minutes. A 
college farce. 'Contains good messenger-boy part. 


88. Faro Nell.— W. Steell. 

Sketch, one act, 6 males, 1 female—can be 
played by boy. Twenty minutes. Played in 
serious vein as a burlesque it is very funny. 

89. The Act II from Columbus. —D. E. Doran. 

See American list at beginning of this cata¬ 
logue. This act as a complete one act play, is 
very effective and intensely dramatic. 

Denison, Chicago, publications—25c unless 
otherwise, etc. 

90. The Boy Scout Hero. —Edwin Puller. 
Drama for boys. Two acts, 17 characters. 

Easy exterior—1^4 hours. Introduces Boy Scout 
stunts, etc. 

91. The Boy Scouts’ Good Turn. —A. E. 

Weston. 

Three acts. Two exteriors, 2 interiors—1% 
hours. Eighteen characters. Depicts typical 
scout activities and camp life. 

92. A Country Boy Scout. —W. B. Hare. 
Three acts, 14 boys. Interior, a country store. 
The reclamation of a band of tough breaker- 

boys in the coal mines of Pennsylvania is the 
main theme. 

93. The Battle of Roaring Bull. —Jeff Branen. 
Eleven or more boys, black face and Indian 

makeup—30 minutes. Easy to stage. Can be 
made effective with war-dance and entire min¬ 
strel troupe as an afterpiece. 

94. Country Justice. —T. S. Denison. 

Amusing country lawsuit for 8 or more boys. 

15c. 

95. The High School Freshmen.—Chas. Ul¬ 
rich. 

Comedy for boys. Three acts, 12 boys. One 
interior—2 hours. Can be played on any plat¬ 
form. 

An honest student incurs the jealousy and 
hatred of a spoiled son of rich parents. Devoid 
of love element. Fairly exuding school spirit 
and comedy. 

96. Five Minutes from Yell College. See Col¬ 
lege plays. 

97. The Editor-in-Chief. See College plays. 

98. Initiating a Granger. See College plays. 

99. The Great Medical Dispensary. See Col¬ 
lege plays. 

100. On Guard. —Chas. Townsend. 

Farce, 4 male and 2 females—can be taken by 
boys. See Farces. 


\ 28 ] 



Play Catalogue 


101. East of Lynn, Mass. 

Seven male, 4 female parts. Burlesque on 
East Lynn. Can be played by all boys. See 
Farces. 

102. On the Greenboro Nine. —Ward Ma- 
cauley. 

A baseball play for boys or young men—21 
male characters. Two exterior scenes, one in¬ 
terior, very simple—1 y. 2 hours. Costumes mod¬ 
ern and baseball suits. A very unusual play and 
a sure success. 

Penn. 25c. 

103. Boy Scout Entertainments. — Compiled 
by Lieut. Clifton Lisle, U. S. Army, formerly 
assistant scout master. 

Gives hints on “getting up a show,” a num¬ 
ber of complete plays. 

Penn. Paper, 40c. 

104. A Scout’s Honor. —Clifton Lisle. 

One act. 12 and more and scout master; ex¬ 
terior setting; 45 minutes. 

Penn. 25c. 

105. Daniel Boone Pageant.—Lisle. 

Entertainment for boys in 5 scenes. 9 males 

and 1 female, taken by boy and extras. See 
Kentucky. 

106. Fair Play.—Lisle. 

Eight boys, 2 acts, 2 interiors, 1 x /z hours. 

A play about clean football. 

Penn. 25c. 

107. Jerry’s Job.—Raymond Robinson. 

One act, 5 boys, 1 interior, 30 minutes. 

Tommy becomes a boy scout and makes good 
in the office. 

Penn. 25c. 

108. A Noble Spy. —See American history 
list. 

Six acts, any number of boys. Principal char¬ 
acters from Revolutionary history. 

109. When Doctors Disagree. — P. O. E. 
Y oung. 

Farce, 1 act, 8 boys. See Farces. 

110. Raggles’ Corner. —See farces. 

Seven characters. Bowery street scene. 

111. The Sight-Seeing Car. —Ernest M. Gould. 

Comedy sketch in 1 act. 7 males and 2 fe¬ 
males. Can be played by all male cast. 45 
minutes. Simple street scene. Humorous char¬ 
acters and incidents. 

Penn. 25c. 

112. The Comedy of Errors. 

Arranged for boys’ presentation. 13 males, 
4 females. A special arrangement for school 
performance—5 acts. Plays 2 hours. 

Baker. 25c. 


113. J. Caesar.—Stephen F. Harris. 

A burlesque. 10 boys. Plays about 40 min¬ 
utes. Short, rapid and uproariously funny bur¬ 
lesque of Julius Caesar; written in a spirit of 
pure mischief by boys for boys. 

No change of scene required—costumes not 
difficult. 

Baker. 25c. 


CHINA—Plays of 

Yellow Jacket.—George C. Hazleton and B. 
Benrimo. 

A play of China to be given in the Chinese 
manner. 3 acts, 22 characters. 

Distinctly Chinese flavor. The play bristles 
with quaint Chinese philosophy and sayings. A 
play that would set off the motives for a foreign 
aid society benefit. The whole play is given in 
the Chinese manner. Each incident and step in 
the plot is explained by the Chinese chorus. The 
property man plays his important role in full 
view of the audience. One of the quaintest plays 
on the English speaking stage. 

American Play Co. 

The Chinese Lantern.—Laurence Housman. 

Comedy, 3 acts, 12 males, 3 females. Cos¬ 
tumes and scene Chinese. One interior; 2% 
hours. 

Charmingly fantastic, the whole play is full of 
the poetic atmosphere of China. Amateurs have 
successfully produced this for many years 

French. 75c. 

The Turtle Dove.—Margaret Oliver (Oliver 
Oaks Moylan, Rose Valley, Pa.) 

A play in the Chinese manner, the characters 
appearing from a background, as though pictures 
on a huge Willow Plate. Very fantastic. 

Six plays, 6 males, 1 female. 

Badger, publisher, Boston. 

The Singing Soul.—See Advanced One Act 
Plays. 

The Lady of the Weeping Willow Tree.— 

Stuart Walker. 

Very poetic Chinese play of three acts; 6 
characters, in More Portmanteau Adaptations. 

Steward Kidd. 

Told in a Chinese Garden.—Constance Wilcox. 

Lovely little Chinese play full of Chinese say¬ 
ings. The lover of the beautiful maiden is dis¬ 
guised as the gardener, and he manages to save 
her from marrying Poa-Ting-Tang, in spite of all 
opposition and her two stiff, chillingly formal 
governesses. 

Five males, 3 females and extras for coolies; 
pages. 

Henry Holt. $1.50. 


[ 29 ] 



Play Catalogue 


The Cat and the Cherub. 

Tragic drama in one act. Excellent. True in 
color and detail. A street scene in San Fran¬ 
cisco’s Chinatown is the setting. 

Four males, 2 females, 1 small boy. 

This play has been used as libretto for the 
opera L’Oroeola. 

French. 35c. 

The Chinese Puzzle.—Marian Bower and 
Leon Lion. 

Four acts, 9 males, 5 females. Costumes mod¬ 
ern and Chinese; 3 interiors; 2*4 hours—intri¬ 
guing play concerning a Chinaman who is dif¬ 
ferent from the usual crafty, trickey one of the 
theatre. Marquis Chi Lung is the hero. 

French and Baker. 75c. 

CHILDREN’S PLAYS 

A few plays not contained in the excellent 
catalogue compiled and edited by Katherine 
Bregy for the Catholic Theatre Movement— 
Philadelphia Center. 

1. Little Lord Fauntleroy.—Frances Hodgson 
Burnett. 

Three acts, 2 1 /j hours, two interiors, 8 males, 
3 females. 

French. 

2. The Doll That Saved an Army.—See His¬ 
torical Plays, Civil War period, in this cata¬ 
logue. 

3. The Little Princess.—See Drama list in 
this catalogue. 

4. Penrod.—Reviewed elsewhere in this cat¬ 
alogue. 

French. 75c. 

5. A School Boy’s Dream.—A. E. Harris. 

A play in two acts—for schools or other groups 
of young people. Any number of male and fe¬ 
male characters may be used. It includes 
Mother Goose characters and other story book 
people, of various ages. 

Scene, one simple interior. Plays about one 
hour. 

French. 30c. 

See Outdoor Plays under separate list. 

See Christmas Plays under separate list. 

6. For the Sake of Peggy.—Ragna B. Eskil. 

A Child Welfare Play. One act, 1 easy in¬ 
terior. Time, 45 minutes. 

Eleven females and 10 to 20 or more boys and 
girls. 

Contains drills and a song and is so arranged 
that it can serve as a climax to a Child Welfare 
Week and utilize the children who win the high¬ 
est health points. 

Denison. 30c. 


7. The Bravest Thing In the World. —Lee 

Pape. 

Comedy in one act, interior scene; time, about 
40 minutes. 

Four males, 3 females—three are children, two 
boys and a girl, or the children’s parts may be 
played by three girls. Costumes, except one, are 
modern. 

Penn. 25c. 

8. Behind the Rain Curtain. —Edith Burrows. 
A fanciful play. 

Seventeen principal characters—many supers. 
Time of playing, 45 minutes. Costumes easily 
made—directions in book of play. 

Joan wishes it would never rain again; is led 
behind the rain-curtain, and sees what her wish 
would really mean. Very delightful and well 
worth doing. 

Penn. 25c. 

9. The Golden Birds. — Ruth Sherwood— 

Drama League. 

Three acts, 8 characters, interesting and di¬ 
verting. The “bad princes’’ are changed into 
frogs and come hopping across the stage for a 
finale. 

10. The Magic Sword. —H. Pyle. 

Characters are dolls, jumping-jacks, bear, har¬ 
lequin, toy soldiers, etc. Music and illustrations. 
St. Nicholas Plays. 

Century Co. 

11. Fairy Tale Plays. —Daniel A. Lord, S. J., 

St. Louis University, St. Louis, Mo. 

12. In the Good Old Days.—Nora Archibald 
Smith. 

In “Christmas Time and other plays.’’ 

13. Pantomimes for Children. —Nora Archi¬ 
bald Smith. 

In Plays and Pantomimes for Children. 

14. Let’s Pretend. —Lindsey Barbee. 

A book of children’s plays. 

Denison. $1.25. 

15. Country School Dialogues.—Mary L. 

Monaghan. 

Contains 25 humorous dialogues. 

Denison. 35c. 

16. Dialogues for District Schools.—Mary L. 

Monaghan. 

Contains 25 original humorous dialogues, writ¬ 
ten with the view of suiting all classes of chil¬ 
dren, large and small. 

Denison. 35c. 


[ 50 ] 



Play Catalogue 


17. Little People’s Plays.—Marie Irish. 

For children from 7 to 13 years of age, though 
some of the simpler parts may be taken by 
younger children. Complete descriptions of cos¬ 
tumes and directions for presenting. 

Denison. 35c. 

18. Dialogues for Rural Schools. —Mary L. 
Monaghan. 

Twenty-two new and clever dialogues for chil¬ 
dren of all ages. 

Denison. 35c. 

19. Merry Little Dialogues. — Willis N. 
Bugbee. 

Thirty-eight original comic dialogues for little 
people. 

Denison. 35c. 

20. Rival Mail Carriers. 

An original musical sketch in one act to which 
is added “The Labor Question,’’ for twelve 
little boys’ characters, 3 males, 1 female. 

Matre. 25c. 

21. Our Mother Land. 

A splendid work, especially from an educa¬ 
tional standpoint—suitable for commencement 
day. 

Penn. 25c. 

22. The Children’s Vaudeville. — W. N. 
Bugbee. 

Entertainment in one act, for a large number 
of children from 6 to 12 years. 

Baker. 25c. 

23. Dialogues and Entertainments for Gram¬ 
mar Grades.. —H. H. Pierson and others. 

Baker. 25c. 

24. A Dream of Mother Goose. 

A varied collection of simple entertainments 
from Mother Goose for children of various ages. 

Baker. 25c. 

25. Short Plays for Small Players.— E. Bur¬ 
rows, G. Bridgham, and others. 

Baker. 35c. 

26. A Troublesome Flock. —E. F. Guptill. 

Mother Goose play—10 boys, 15 girls, or less. 

Plays 45 minutes. Scenery, unimportant. The 
music is printed with the songs. 

Baker, 25c. 

27. Fairy Tale Plays and How to Act Them. 
—Mrs. Hugh Bell. 

A book of plays. 

Longmans, Green & Co. 

28. The Children’s Theatre. —Alice Minnie 
Herts. 

Harpers. 


29. How to Produce Children’s Plays.—Con¬ 
stance D’Arcy Mackay. 

A book by an authority. 

Henry Holt. $1.35. 

30. The House of the Heart.—Constance 
D ’Arcy Mackay. 

Short plays in verse for children of 14 or 
younger. 

Henry Holt. $1.10. 

31. The Blue Prince. 

A Drama League prize play. Two scenes— 
2 boys, 7 girls. 

32. The Magic Trunk. 

Christmas play—Santa Claus, etc. One act, 
4 boys, 4 girls. 

33. Robin Hood.* 

Three acts. Any number of children, with the 
regular Robin Hood characters as principals. 

34. My Lady’s Yule-tide.* 

Three acts. Interesting—introduces Morris 
dancing, the old wassail customs and all the old 
Christmas carols and customs, including old form 
of pantomime—St. George and the Dragon. 
Splendid little play to give in connection with a 
boys’ choir. 

35. Nativity Play.—Mons. Benson. 

Is also effective given in connection with a 
boys’ choir. 

36. The Changeling.—Harriet Prescott Spof- 
ford. 

A charming play for 34 principals, represent¬ 
ing dolls, fairies, etc. 

Splendid illustrations for costumes and songs 
also given in St. Nicholas Book of Plays. 

Century Co. 

Note—Other splendid plays for children in this 
volume. 

37. See also list of plays published by Matre 
& Co. Religious plays, etc. 

38. Christmas plays and Festival Day plays 
found under regular captions. 

39. See five delightful Children’s plays from 
the old French under French. 

40. See Educational plays. 

See Days we Celebrate. 

See Patriotic list of plays. 

The Little Crusaders.—Katherine Bregy. 

A drama of the Children’s Crusade. 

‘ ‘ It very beautifully brings before us what 
seems to have been a dream of the Church for 


*Drama League publications. 


[ 31 ] 




Play Catalogue 


years, to restore the Holy Sepulchre to the fol¬ 
lowers of Christ. The play very delightfully 
shows us that even the children of long ago 
dreamt of this restoration and perhaps were an 
inspiration to their elders to begin and complete 
the great work. This is the argument of the 
play.” John J. Wheeler, general secretary of 
the Catholic Theatre Movement in Philadelphia. 

Peter Reilly, 133 N. Thirteenth St., Philadel¬ 
phia. 

Fifteen principals—five being older children— 
any number of extra boys and girls, and a collie 
dog. Two acts and prologue and epilogue. Two 
exteriors, 1 interior. 

From a school room scene the children are 
brought back to the time of the celebrated Chil¬ 
dren’s Crusade. 

Opportunity for a lovely fantasy. 

Plays for School and Camp. —Katherine Lord. 

Six easy plays. 

Little, Brown & Co. 

A Treasury of Plays for Children. —Edited by 
Montrose J. Moses, with illustrations by Tony 
Sarg. 

Fourteen plays by well known authors. 

Little, Brown & Co. 

Contains The Forest Ring; Pinkie and the 
Fairies; Punch and Judy; The Three Wishes; 
The Little Princess; Six Who Pass While the 
Lentils Boil; Alice in Wonderland, etc. 


CHRISTMAS PLAYS 

1. Southumberland’s Yule-tide. — C. Arthur 
Coan. 

A fascinating and practical community Christ¬ 
mas masque. This delightful festival is written 
in the spirit of the traditional Yule celebrations 
of the old days. There are speaking parts with 
dialogue for those who will attend rehearsals, 
and group work for others, with little or no re¬ 
hearsing, the whole forming a brilliant pageant. 
The action is spirited, the incidents are appro¬ 
priate to the period, the costumes are fully de¬ 
scribed, and the instructions are in detail, in¬ 
cluding sources of traditional music and settings. 
Suitable for community or school use. 

French. 50c. 

2. Christmas Pageant. —Daniel A. Lord, S. J. 

3. Queen Christmas. —Carolyn Wells. 

Play in one scene. Scene easily arranged. 
Costumes varied, but easily made. Time of play¬ 
ing, 30 minutes. Verses throughout the text set 
to old, well-known tunes. 

10 males, 4 females. 

King Christmas brings home his bride. She 
comes from a land where Christmas is unknown. 
He shows her in turn, Christmas bells, lights, 


decorations, gifts, etc., including Santa Claus. 
The Queen decides that the Spirit of Love is the 
greatest blessing of Christmastide. 

Penn. 25c. 

4. Holiday Entertainments. 

This book is made up of short Dramas, Dia¬ 
logues, Tableaux, Stories, Recitations, etc., in all 
of which are introduced many novel features 
that give the spice and sparkle so desirable for 
such occasions. It is adapted to the full round 
of holidays, containing features specially pre¬ 
pared for Christmas, New Year’s, Washington’s 
Birthday, Easter, Decoration Day, Fourth of 
July and Thanksgiving. Some of the plays are: 
“Santa Claus Outwitted;” “A Holiday Acros¬ 
tic;” “The Laurel Wreath;” “The Quest of 
the Three Kings;” “Resurrexit.” 

Penn. Paper, 40c. Cloth, $1.00. 

5. The Night Before Christmas.—William 

Patterson Taylor. 

Three short acts. Time less than an hour. 
Music supplied by a quartette. The first act 
presents the activities of the night before Christ¬ 
mas in Santa’s work-shop at the North Pole. 
The second is the displeasure of Santa Claus at 
the differences between two brothers after they 
have gone to bed, the night before Christmas. 
In this act and the last “The Night Before 
Christmas” is dramatized. 

French. 25c. 

6. A Dream of Christmas Eve. —Ina Home. 

An entertainment for children. Time, about 

thirty minutes, but it can be lengthened by the 
further introduction of each child’s specialty. 
The costumes are according to the character 
represented and are easily made. The story is 
the dream of a little girl on Christmas Eve, in 
which she views the good things she is to receive 
on the morrow. 

1 male, 9 females. French. 25c. 

7. Why the Chimes Rang. —Elizabeth Ap- 
thorp McFadden. 

A play in one act. Adapted from the story of 
the same name by Raymond MacDonald Alden. 
Dramatized from a popular children’s story. 

8. A Christmas Carol. —See Dickens’ plays in 
this catalogue. 

9. The Christmas Guest. 

One act. Miracle play after the manner of 
the tenth century; 8 characters. 

Into a home where there are warmth and gifts, 
an old beggar comes on Christmas Eve. The 
children make him comfortable and give him 
gifts to help him on his way. As he leaves, a 
mystical and beautiful light surrounds him as 
he pronounces a benediction upon them. 

French. 25c. 


[ 32 ] 



Play Catalogue 


10. The Holly Wreath. —Stapp-Cameron. 

Twenty boys and girls. One hour. Woodland 

setting. 

Two little girls visit the woods looking for 
holly the day before Christmas. They do not 
find the holly, but through the magic power of 
love, Christmas is brought to their home. 

Baker. 30c. 

11. Echoes From Bethlehem. —Rev. Francis J. 
Finn. 

A good Christmas miracle play for boys. Six 
characters and chorus (8 to 14 years.) One out¬ 
door scene, and tableau of Nativity to be added 
if possible. One act, about 40 minutes. 

Herder. 25c. 

12. The Nativity. —Arranged by Rosamond 
Kimball. 

Composed of selections from the Bible in the 
form of a mystery play, and accompanied by 
Christmas Carols. 

Mary, Joseph, Angel Gabriel, Zacharias, 3 
shepherds, 3 Wise Men, an Angel and singing 
voices. Four divisions or scenes. 

French. 35c. 

13. The Three Holy Kings. —F. Ebersweiler, 
S. J. 

An historical drama in 5 acts. 

Ten males. Mary and Angels—and extras. 

Herder. 25c. 

14. Echoes of Bethlehem. —Michael J. Earls, 
S. J. 

A delightful little Christmas play full of hu¬ 
man incident and reality. A play the Altar 
Boys’ Society would enjoy doing, and most ap¬ 
propriately fitted for production by an Alcolyti- 
cal society, as the cast calls for a large cast of 
boys. 

15. Jolly Plays for Holidays. —Wells. 

Christmas Plays for Children. Contents: The 

Day Before Christmas, 9 males, 8 females. A 
Substitute for Santa Claus, 5 males, 2 females. 
Is Santa Claus a Fraud? 17 males, 9 females, 
and chorus. The Greatest Day in the Year, 7 
males, 19 females. Christmas Gifts of All Na¬ 
tions, 3 males, 3 females, and chorus. The Great¬ 
est Gift, 10 males, 11 females. Gives suggestions 
for costuming and other details of stage produc¬ 
tion. The music called for is simple. 

Penn. 75c. 

16. Holiday Dialogues From Dickens.—Ar¬ 
ranged by W. E. Fette. 

Comprising selections from A Christmas Carol, 
The Cricket on the Hearth, The Battle of Life, 
etc., arranged in a series of scenes to be given 
either singly or together as an extended enter¬ 
tainment. 


17. Yuletide Entertainments. —Ellen M. Wil¬ 
lard. 

The book presents the legends or spirit of 
Christmas to the eye as well as to the mind, in 
plays, pantomimes, dialogues, songs, tableaux, 
drills, marches, monologues and recitations. 
Most of the contents are for children. 

Denison. 35c. 

18. Good Things for Christmas.—Marie Irish. 
New material for Christmas celebrations. It 

contains 33 recitations and monologues and 22 
exercises, dialogues, drills, tableaux and scenic 
readings. A few of the titles: Aunt Hetty’s 
Christmas Gifts; Christmas Troubles; Curious 
Little Ted; Mr. Brown Returns Thanks; ’Neath 
the Mistletoe; Stocking Drill; Star Drill; Two 
Views of Christmas. 

Denison. 35c. 

19. Cheery Comedies for Christmas. —E. M. 

Burrows, G. M. Henderson, etc. 

A collection of Plays, Pantomimes, Tableaux, 
Readings, Recitations, Illustrated Poems, etc. 
Containing, The Awakening of Christmas, 23 
boys, 32 girls; A Christmas Strike, 4 boys, 3 
girls; Santa’s Surprise, 33 children and 1 man; 
Kris Kringle’s Panorama; miscellaneous. 

Baker. 35c. 

20. Christmas Entertainments. —Jaye Kaye, 
and others. 

Comprising exercises, suggestions and plays. 
Offers a number of hints for the easy and eco¬ 
nomical celebration of Christmas at home or in 
church. 

Contents: Christmas Entertainments, new and 
original exercies and suggestions. The Christ¬ 
mas Box, 4 males, 4 females, and other plays for 
men, women and children. 

Baker. 35c. 

21. Santa Claus Gets His Wish. —Blanche P. 
Fisher. 

A costume play for children with simple scen¬ 
ery. Plays 20 minutes. 

The story teaches a pretty lesson of unselfish¬ 
ness. Baker. 25c. 

22. Bethlehem. —Laurence Houseman. 

Fifteen characters and extras, 1 hour, 2 scenes. 

Excellent for colleges and church societies. 
Highly commended by Katherine Bregy. 
McMillan. $1.00. 

23. The Seven Gifts. —Stuart Walker. 

Easily produced. For permission to produce 

write Stuart Walker, Portmanteau Theatre, 200 
W. 56th Street, New York City, if performance 
is free. If admission is charged write to Play¬ 
ground and Recreation Association of America, 
1 Madison Square, New York City. 25c a copy. 

See Pantomimes in this catalogue for further 
description. 


[ 33 ] 



Play Catalogue 


24. The Christmas Masque. —Haus. 

Sunwise Turn. $1.25. 

25. A 16th Century Christmas. —Charles A. 
Murdock. 

An attractive setting for the delightful old 
Christmas Carols, well adapted for a choral so¬ 
ciety. 

Four males, 2 females. One lady must sing 
and the trained singers take part as the Waits 
—2 children needed to act—ladies and gentle¬ 
men, Lord of Misrule and his band. 

In St. Nicholas Book of Plays. 

Century Co. 

26. The False Sir Santa Claus. —E. S. Brooks. 
For grown-ups and children. Seven males, 2 

females, three talking parts for children and any 
number of silent parts. 

Splendid for Sunday-school entertainments 
where gifts are to be distributed, as this is part 
of the play. 

St. Nicholas Book of Plays. 

Century Co. 

27. An American Citizen. 

Some charming Christmas scenes. 

See Drama list—French publication,—in this 
catalogue. 

28. There Was No Room In the Inn. —dem¬ 
entia. 

A Christmas play in 5 scenes, 9 principal char¬ 
acters, simple costumes. 

A charming play for children. 

Matre & Co. 80c. 

29. Nativity Play. —Robert Hugh Benson. 
Longmans, Green & Co., London. 

30. Nativity Play. —Douglas Hyde. 

Maunsell & Co., London. 

31. Christmas Eve—1914. —Paul Claudel— 
translation by Katherine Bregy. (In press.) 

Paul Elder. 

32. A Wonderful Christmas Gift. —dementia. 
Dramatization of Uncle Frank’s Mary. 
Characters range from four or five years to 16 

or 18 years. 12 female (some of which may be 
omitted, or others introduced) and 3 male charac¬ 
ters (may be taken by girls). No special cos¬ 
tumes. 1*4 hours. 

Matre & Co. 40c. 

33. Christmas Chime. —M. Cameron. 

Comedy. One act. Interior. Two males, 2 

females. 

A couple who have quarreled are brought to¬ 
gether at Christmas time by two friends. 

Nice little play for Christmas season. Takes 
30 minutes. 

French. 30c. 


34. The Christmas Burglar.—Mary H. Flan- 
ner. 

One little girl. 3 males. 

The action of the play takes place during 
Christmas eve. Fine lesson. 

French. 30c. 

35. Christmas Plays, Pantomimes and Dances. 

An indispensable handbook for teachers. Con¬ 
tains just the suitable plays for the Christmas 
holidays with all the directions necessary. Ex¬ 
cellent for community festivities, with folk 
dances. Music contained in the book for songs 
and dances described. A wonderful little book. 
Compiled and edited by Mari Ruef Hofer, who 
has gone into the question of recreation inter¬ 
nationally as well as patriotically, bringing into 
form the best dramatic activities of the many 
peoples in both continents which has developed 
a people’s art and folk lore. 

A. Flanagan. 35c. 

(See Morality and Mystery Plays. Also Re¬ 
ligious Plays, etc.)* 


OLD TIME CLASSICS 

(Interesting as Stage Revivals) 

Master Patelin, Solicitor. 

French farce of 15th century, translated by 
Barrett H. Clark for 3 males, several extras, 3 
females, 1 extra. One interior. 

French. 35c. 

The Black Pearl.—Victorien Sardou. 

In 3 acts, 7 males, 3 females. 

A house has seemingly been robbed, but 
through skillful investigation it is found that 
the havoc wrought has been done by lightning. 

35 cents. 

A Celebrated Case.—By D’Ennery and Cor- 
monin . 

Prologue and 4 acts. Seven males, 5 females, 
soldiers and villagers. 

A Frenchman who served at Fontenoy is 
falsely accused of a crime and suffers a prison 
sentence for 12 years-and is finally exonerated. 
One scene represents the color company of the 
regiment du Roi after the battle of Fontenoy. 
Denis O’Rourke, sergeant in the French army, 
furnishes the comedy. 35c. 

See also “Phormio,” “The Twins’’ by Plaut¬ 
us, Crispin, The Postscript elsewhere in this 
catalogue. 


*Sec addenda, additional Christmas plays. 


[ 34 ] 




Play Catalogue 


Masks and Faces.— Tom Taylor and Chas. 
Reade. 

Features the celebrated actress, Peg Woffing¬ 
ton. A striking scene where the sprightly Peg 
sits behind a picture frame and poses as her 
own portrait while her friends unwittingly 
criticise the features of the portrait. 

School. —T. W. Robertson. 

Old time comedy. Four acts, 5 males, 9 fe¬ 
males. 25c. 

Published by W. H. Baker Co., Boston, at 
25c unless otherwise stated. 

Master Pierre Patelin. —English translation by 
Prof. R. T. Holbrook. 

Four males and 1 female. Costumes of the 
period—15th century. Scenery, simple; 1 (4 
hours of literary interest. Ideally actable and 
funny. 60c.* 

Caste. —T. W. Robertson. 

Old comedy, 3 acts, 4 males, 3 females. Scene, 

1 interior. Plays a full evening. Famous 
soubrette part of Polly Eccles. 

The Rivals. 

Sheridan’s famous comedy, recently revived in 
New York with an all-star cast. Five acts, 9 
males, 5 females. Scenery varied. Costumes of 
the period. From the prompt-book used at old 
Boston Museum. 

The Hunchback. —J. S. Knowles. 

Fourteen males, 2 females. Costumes and 
scenery elaborate. Plays a full evening. 

Ingomar. —M. Lovell. 

Five acts, 13 males, 3 females. Scenery varied. 
Costumes Greek. Plays full evening. Printed 
from Julia Marlowe’s prompt-book. 

Lady of Lyons. —Bulwer Lvtton. 

Five acts, 12 males, 5 females. Costumes and 
scenery elaborate. Plays a full evening. 

* London Assurance. —D. J. Boucicault. 

Comedy, 5 acts. Ten males, 3 females. Cos¬ 
tumes of the period or modern. One exterior and 

2 interiors. 

Richelieu. —Sir E. Bulwer Lytton. 

Five acts, 15 males, 2 females. Scenery elab¬ 
orate. Costumes of the period. Follows closely 
the Edwin Booth version. 

The School for Scandal. —R. B. Sheridan. 

Comedy, 5 acts. Twelve males, 4 females. 
Scenery varied. Costumes of the period. Plays 
a full evening. Also from version of Boston 
Museum. 

*See note to Master Pierre Patelin under 
French plays. 


Scrap of Paper. 

Comedy, 3 acts. Six males and six females. 
Three interiors. Plays a full evening. Boston 
Museum version with all the usual cuts and 
“gags.” 

She Stoops to Conquer. —Oliver Goldsmith. 

Comedy, 5 acts. Fifteen males, 4 females. 
Scenery 3 interiors and 1 exterior. Costumes of 
the period. Plays a full evening. 

Published by Denison. 

*Caste. —Robertson. 

•'"East Lynne. 

Drama, five acts. Eight males, 6 females. 

*Lady of Lyons. —Lytton. 

^London Assurance. —Boucicault. 

*Our Boys. —H. J. Byron. 

Three acts, 6 males, 4 females. 

* Scrap of Paper. 

*Published by Penn. 25c. 

*Caste. 

Celebrated Case. 

David Garrick. 

’"She Stoops to Conquer. 

The Rivals. —Sheridan. 

Five acts, 9 males, 5 females. From prompt- 
copy of old Boston Museum theater. (Also pub¬ 
lished by French.) 

The School for Scandal. —Sheridan. 

Comedy, 5 acts, 12 males, 4 females. Cos¬ 
tumes of period. Also Boston Museum version. 
(Published by French also.) 

Scrap of Paper.—From the French of Sardou. 

Boston Museum version. Six males and 6 
females. Interiors. This play has good parts 
and is sprightly in movement. (French also.) 

She Stoops to Conquer. —Goldsmith. 

Five acts, 15 males, 4 females. Three in¬ 
teriors and 1 exterior. Costumes of period. 

Caste, East Lynne (drama, 5 acts, 8 males, 6 
females); Lady of Lyons, London Assurance, 
Our Boys, (comedy, 3 acts, by Byron, 6 males, 
4 females), and Scrap of Paper also published 
by Denison. (15c each.) 

Richilieu, Caste, A Celebrated Case, David 
Garrick, She Stoops to Conquer, are also pub¬ 
lished by Penn. (35c each.) 

The Barber of Seville. 

Special translation of the old Beaumarchais 
play, with notes, etc. (See under Spanish.) 

*25c per copy. “William Warren Edition.” 


[ 55 ] 





Play Catalogue 


Raising the Wind. —James Kenny. 

Old time farce introducing the character of 
Jeremy Diddler, the founder of half of the farce 
parts of the old times. In two acts; 8 males, 
2 females. 

French. 25c. 

The Hunchback, School for Scandal, London 
Assurance also published by French—American 
Academy of Dramatic Art’s edition. 

Don Caesar de Bazan; Fool’s Revenge. 

Published by Penn. 

Classic Dialogues and Drama.—By Mrs. J. W. 

Shoemaker. 

A collection from the plays of Shakespeare, 
Bulwer, Schiller, etc. Damon and Pythias, 
David Copperfield, Becket, Lady of Lyons, The 
Rivals, Ingomar, Mary Stuart, Song of Seven, 
Zenobia and Parthenia are some of the drama 
adaptations.* 

Penn. 40c. 

COMMUNITY DRAMA 

See Days We Celebrate. 

See American list. 

See Shakespeare, The Community Shakespeare. 

The Community Theatre. —Louise Burleigh. 

The Community Theatre—“the underlying 
factor in pageantry, masques and outdoor per¬ 
formances.” A book which will be of value to 
all students of modern drama. Illustrated. 

Little, Brown & Co. 

COSTUME 

Costumes and Scenery for Amateurs. —By Con¬ 
stance D’Arcy Mackay. 

•A practical working handbook. Illustrated. 
$1.75 net. Book includes chapters on amateurs 
and the new stage art, costumes and scenery; 
but consists mainly of simple outline designs for 
costumes for historical characters. 

Henry Holt. 

Works on costume published by French & Co., 
New York. 

Planche’s History of British Costume. —J. R. 
Planche, esq. F. R. S. 

From the earliest period to the close of the 
18th century. Numerous illustrations. New edi¬ 
tion. $1.50. Boards. 

Shakespeare’s Costumes. 

Price, 75c colored, 25c plain. 


Shakesperean Costume—plates. 

As You Like It, Twelfth Night, Taming of 
the Shrew, Merry Wives, Merchant of Venice, 
Cymbeline, Hamlet, Richard the Third—75c per 
Play. 

French’s Costumes. 

Dramatic, national, historical—200 plates each 
per volume; male and female; $30 per volume. 
Also sold in parts—six plates per part. All 
beautifully colored. List sent free giving name 
and date of each costume plate. 

Stage Costume; Practical Hints on— By Cyril 
Bowen. 

Including instructions and illustrations for 
making of hats, boots, swords, etc. 40 cents. 

Costume Plays 

See Historical and plays marked Costume 
Drama. 

Modes and Manners of the Nineteenth Cen¬ 
tury, Edwardes, E. P. Dutton.. 

DANISH 

See King Rene’s Daughter in One Act plays. 

DAYS WE CELEBRATE; PLAYS FOR 
January 

Months of the Year.—Especially for January 
and December. 

The old year goes (old man) and new year 
comes in (little boy), then comes a song and 
acrostics by 13 pupils in the words “A Happy 
New Year.” The months come in simple cos- ' 
tumes, each wdth a verse. 

Penn. 25c. 

The Days We Celebrate. —Marie Irish. 

Includes all the holidays, New Year’s, Lin¬ 
coln’s Birthday, Labor Day, Hallowe’en, etc. 

Denison. 35c. 

Twelfth Night.—See Shakespeare. 

All the Year Round. 

Series of entertainments for every month in 
the year. 

Baker. 35c. 

Calendar Days. —Hariette Wilbur. 

Thirty-two boys, 35 girls—can be given by 
12 children; 1 % hours. 

Introduces the 12 months, the holidays and 
many of the special days of the different states, 
giving a brief description of their origin. Not 
only instructive entertainment but bright and 
amusing. Opportunity for pretty effects in cos¬ 
tumes, which are fully described and can be 
procured or made at small expense. Not diffi¬ 
cult to produce. 

Denison. 25c. 


[ 36 ] 


* See addenda. 




Play Catalogue 


New Year and Midwinter Exercises.—Alice M. 
Kellog. 

For children from 10 to 15 years of age. A 
helpful feature is fQund in the 50 brief biog¬ 
raphies of famous men and women whose birth¬ 
days come in the winter and suggests programs 
for some of these anniversaries. 

Penn. 35c. 


February 

Feb. 7—Dickens’ Birthday. —See Dickens’ 
plays. 

Feb. 12 — The day that Lincoln died. —(See 
One-act Plays, Baker.) 

Feb. 12 — See Patriotic Celebrations, Marie 
Irish. (Denison, 35c.) 

Feb. 12—Four scenes from Lincoln’s time: 

Lincoln helping a little girl with her trunk; 
Women working for the wounded; The visit of 
the mother of a soldier boy sentenced to death; 
and The coming of the army of liberation to the 
darkies. Lincoln himself does not appear. The 
mounting of these little plays is simplicity 
itself. In “Little Plays from American History 
for Young Folks.” Alice Johnstone Walker. 

Holt. $1.20. 

Good Things for Washington’s and Lincoln’s 
Birthdays. —M. Irish. 

Denison. 35c. 

See Patriotic list also. 

Feb. 14 — Cupid’s Trick. —Preston Gibson. 

A Valentine playlet in 1 act. Four males, 1 
female. Interior. Modern costumes—30 minutes. 

Helen, daughter of an impoverished noble¬ 
man, loves Jack Faversham, poor, but is ordered 
by her father to marry the wealthy landowner. 
On Valentine’s day Cupid plays a trick and all 
ends well. 

French. 30c. 

St. Valentine’s Day. —(See Ladies.) 

Comedy in one act for two ladies. 

A Fan and Two Candlesticks. —Mary McMil¬ 
lan in Short Plays. 

Two males and 1 female. Costumes early 18th 
century. Dainty and poetic little play for St. 
Valentine’s day. Delightful and very charming. 

The Changed Valentines and Other Plays for 
St. Valentine’s Day. —Guptil. 

Baker. 25c. 

Feb. 22 — Washington’s Birthday. —See Ameri¬ 
can list for plays about Washington, also Pa¬ 
triotic list. 


Mr. February Thaw. —-(Stapp-Cameron). 

For 10 boys and girls. Scene, a garret—45 
minutes. Introduces George Washington, Lin¬ 
coln and St. Valentine. 

Baker. 30c. 


March 

March 4—Emmet’s B i r t h d a y. —See plays 
about Emmet in Irish list. 

March 17. —See 'Irish list. 

See Religious list for plays suitable for Lent, 
Veronica’s Veil, The Upper Room. 


April 

Bird Day. 

Tree planting exercise. Shakespeare exercise. 

Special Day Exercises.—Amos Kellog. 

Penn. 40c. 

Arbor Day Program 

Collection of Arbor day material for primary, 
grammar and high school. 

Penn. 25c. 


The Dryad. —Mary McMillan in More Short 
Plays. 

Lovely little play suitable for an Arbor day 
program. (See Outdoor plays.) The Dryad 
represents the spirit of the trees. 

Shakespeare Festival for Shakespeare’s Birth¬ 
day. —April 26. (See Shakespeare). 

Mother Nature’s Festival. 

Suitable for Bird day, Arbor day, May day. 

30 to 40 children. Costumes may be simple 
or as elaborate as desired. 

Penn. 25c. 


May. 

May Day in Spring and Summer. —Alice Kel¬ 
logg. 

School celebrations. 

Penn. 40c. 

Who Shall Be Queen of May. —Play. In 

Scrapbook series No. 9. 

Denison. 35c. 

May Day in Mother Nature’s Festival. 

Penn. 25c. 


[ 37 ] 



Play Catalogue 


A Dream of the Flowers. —N. Case. 

Fourteen girls, 1 boy and chorus. Costumes 
fanciful. Celebrates May day. Introduces May- 
pole dance, etc. 

Baker. 35c. 

See Pageantry and Outdoor plays. 

Memorial Day. —See Patriotic list, also “ Get¬ 
tysburg’ ’ in Yankee Fantasies.—Percy Mac- 
kaye.—Duffield, N. Y.) 

A Memorial day play. 

See Special Day exercises. 

“Two Heroes.’’ —Penn. 

For May day. See volumes referred to in 
beginning of this list, Days We Celebrate, etc., 
etc., all containing Memorial day exercises. 


June 

See Outdoor plays. 

Flag Day. — In Days We Celebrate.—M. Irish. 
See head of column also Patriotic celebrations. 

June Time Play. —In All the Year Round. 

For 14 girls. 

Baker. 35c. 

See Boys’ plays, Plays for Girls for plays 
suitable for Commencement and Fantasies, Alle¬ 
gories, Religious. 


July 

Fourth of July. —See Pageants and Patriotic 
plays, American plays. 

See volumes referred to in this list, Days We 
Celebrate, Patriotic Days, etc. 

The Pikeville Centennial. —See under heading 
Entertainments. 

Signing of the Declaration of Independence.— 

See under Patriotic. See under Shadow Plays 
and Pantomimes, plays suitable for Fourth of 
July celebration. 


August 

See Outdoor plays and Garden. 


September-October 

Harvest Home Jubilee. —In Eureka Enter¬ 
tainments. Penn. 40c. 

See Entertainments also for corn husking, 
etc., entertainments suitable for fall festivals. 

The Harvest Festival. —In Successful Enter¬ 
tainments.—W. N. Bigbee. 

Penn. 35c. 


Homecoming of Autumn’s Queen. 

Operatic dialogue. Thirty girls and boys. 
Music is simple, most of the tunes familiar. 
Penn. 25c. # . 

Labor Day. —In “Entertainments for All the 
Year,’’ Clara Denton. 

Penn. 40c. 

Oct. 4— *St. Francis of Assisi. —See The Wolf 
of Gubbio. 

Oct. 12— Columbus Day.— See C o 1 u m b u s—a 

drama under American list. 

Oct. 30—Hallowe’en. 

The dumb cake—a play based on a Hallowe’en 
ritual. A very quaint and well written little 
play. See Advanced Oi:e-act plays. 


November-December 

Nov. 11—Peace Day. —See under American 
History list—Plays of the recent war. 

Patriotic Pieces from the Great War. —Com¬ 
piled by E. Jones. 

Containing all the gems of poetry written by 
our boys and of our boys, of France and Bel¬ 
gium, etc. 

Penn. 40c. 

*St. Francis. “It should not be such a sur¬ 
prise as it might otherwise be then to find that 
St. Francis may be considered in one sense as 
the father of the modern drama.—Prof. James 
Walsh in “Thirteenth, the Greatest of Cen- 
tures. ’ ’** 

Nov. 22. St. Cecilia’s Day. 

See St. Cecilia, a drama, in Religious plays. 

Also St. Cecilia, poetic drama, by a Jesuit 
father. Oates, London. 

Father Time’s Thanksgiving. —In Successful 
Entertainments.—W. N. Bugbee. 

Penn. 40c. 

The Meaning of Thanksgiving. — Carolyn 

Wells. 

Play in one scene. Four males, 9 females. 
Simple interior or exterior. Costumes easily 
made. Thirty minutes. Verses throughout the 
text set to old, well known tunes. 

Penn. 25c. 

See Plays of the Pioneers—Mary McMillan— 
Stewart, Kidd. 

See Entertainments for All the Year.—C. Ben¬ 
ton. Penn. 40c. 

See Days We Celebrate, etc., at head of this 
list. 


**See addenda, St. Francis. 


[ 58 ] 




P lay Catalog u e 


Holiday Entertainments. 

Features for Christmas, Thanksgiving, also for 
New Year’s, Valentine’s, Washington’s birth¬ 
day, Easter, Decoration day, Fourth of July. 

Penn. 40c. 

The Offerings of the Year. —C. P. Denslow. 

Entertainment in one scene. Thirteen char¬ 
acters, boys and girls. Costumes easily arranged. 
No special scenery. Intended for Christmas, but 
touches upon the holidays and national cele¬ 
brations. Thirty minutes. 

Baker. 25c. 


See Christmas Plays. 

For holiday season for children to give in 
hospitals: 

Molly’s New Year Party.— (Stapp-Cameron). 

Forty boys and girls. Scene—A sitting room 
in the home of Molly, a little sick girl.—l 1 /^ 
hours. 

The Calendar Boy comes to amuse Molly with 
the message that his coming days will bring of 
joy, and he decides to have his New Year’s 
party right there and all his holidays come laden 
with their gifts for Molly. 

Baker. 30c. 


DEAF AND DUMB—PLAYS FOR 

1. The Shepherd in the Distance. —By Hol¬ 
land Hudson. 

A pantomime play in three scenes. 

This is a miniature Sumurun done in black and 
white, a merry tale of a Princess who goes in 
quest of a Shepherd. She falls into difficulties 
when a beggar upon whom she bestows a small 
alms tattles to her uncle, the Wazir. Ten char¬ 
acters. Very enjoyable and original. 

Stewart & Kidd. 

2. The Dumb Girl of Genoa. —By John Far¬ 
rell. 

Arranged by C. M. Y. for 8 males and 1 
female. 

C. Young, G242 Winthrop ave., Chicago. 

3. Pictured Readings and Tableaux. —E. M. 
Willard. 

Denison. 35c. 

4. See Pantomime list. See Shadow plays, etc. 

Decorative Drama. —The new idea in panto¬ 
mimes, music and silhouette. The Willow Plate 
Pattern. 

See Greek—a Greek freize by Mari Ruef 
Hofer. 

5. Six Plays for Poetmimes. —Alfred Krem- 
bourg. Others Publication, N. 5.. 


6. Birthday of the Infanta. 

Could be acted in pantomime without any 
spoken words as the action and entire drama is 
so telling. Birthday of the Infanta in Stuart 
Walker’s “More Portmanteau Adaptions.” 
Stewart & Kidd. 


DICKENS—Plays from 

1. Comic Dialogues From Dickens. —Arranged 
by W. E. Fette. 

Nothing but Dickens’ own words are employed, 
and the dialogues from each book may be com¬ 
bined, if desired, to form a longer entertainment. 
The collection comprises 16 selections from Pick¬ 
wick, 9 from Martin Chuzzlewit, 7 from Old 
Curiosity Shop, and others from Nicholas 
Nickleby, Great Expectations, etc. 

Baker. 35c. 

2. The Cricket On the Hearth. 

Three acts. Three interior scenes. Time, 2 
hours. Six males, 7 females. 

Caleb Plummer was a favorite part with Jo¬ 
seph Jefferson. 

Baker. 25c. 

3. The Chuzzlewits or Tom Pinch. —Drama¬ 
tized by F. E. Fowle, from Martin Chuzzlewit. 

Five acts, 15 males, 6 females. Scenery, 4 ex¬ 
teriors, 1 interior. Plays a full evening. 

Baker. 35c. 

4. Humorous Dialogues From Dickens. —Ar¬ 
ranged by W. E. Fette. 

Employing nothing but Dickens’ own words, 
comprising dialogues from Nicholas Nickleby, 
Oliver Twist, David Copperfteld, Dombey and 
Son, Pickwick Papers, Our Mutual Friend, etc. 
The collection is arranged, in some instances, so 
that an extended series of scenes from a single 
book may be given, or the component scenes 
given as separate short dialogues. 

Baker. 35c. 

5. Our Mutual Friend. —Arranged by H. R. 
Shattuck. 

Four acts, 4 males, 4 females. Plays a full 
evening. 

Adapted for amateur theatricals by the ab¬ 
sence of all elaborate scenic demands. 

Baker. 35c. 

6. Christmas Carol. —Dramatized by G. M. 
Baker. 

Time one hour. Six males, 3 females. Adapted 
to one interior scene, and introducing tableaux, 
Very good dramatization. 

25c. 


music, etc. 
Baker. 

[ 39 ] 



Play Catalogue 


7. Dialogues From Dickens. 

Contains full directions for presentation. May 
be rendered in any parlor or school-room. 

Contents: Copperfield’s Proposal, Squeer’s 
School, The Prentice Knights, Spenlow and Jor- 
kins, Mrs. Camp’s Tea, The Circumlocution Of¬ 
fice, The Boy at Mugby, The Friendly Move, 
Bumble’s Courtship, Return of Sol Gills, Mr. 
Pecksniff, Bardell vs. Pickwick, Mr. Micawber. 

Denison. 35c. 

8. Wax Figger Show of Mrs. Jarley. 

The show consisted of wax figures of histori¬ 
cal characters, giants, freaks of nature, etc. Mrs. 
Jarley explains each “figger,” which is repre¬ 
sented by a living person. Fine opportunities 
for local hits. Contains 55 figures. 

Denison. 25c. 

9. Bardell vs. Pickwick. —Arranged from 
Pickwick Papers. 

Farce. Time, 25 minutes. Scene, a court 
room. Six males (with attorneys, crier, etc.), 
2 females. 

Denison. 15c. 

10. Holiday Dialogues From Dickens. —See 

Christmas Dialogues in this catalogue. 

11. Nicholas Nickleby. —Arranged by Edward 
Sterling. 

Farce. Two acts, 12 males, 7 females. 

French. 25c. 

12. Dombey & Son. —Arranged by John 
Brougham. 

Drama. Three acts, 13 males, 5 females. 

French. 25c. 

13. Mrs. Gamp’s Tea. —From Martin Chuz- 
zlewit. 

Time, 10 minutes. Two females. 

Denison. 25c. 

14. The Lamplighter. —Play by Charles Dick¬ 
ens. 

Farce in one act. Three scenes. Six males, 3 
females. 

Very humorous, if several coarse lines are 
omitted. 

In “Papers, Plays and Poems” in Hearst’s 
International Library. 

15. Cricket on the Hearth. 

Three acts. Six males, 7 females. Three in¬ 
teriors—2 hours. 

Caleb Plummer was a favorite part of the late 
Joe Jefferson. Tillie Slowboy, great eccentric 
comedienne part. 

Baker. 25c. 


DRAMA—List for Advanced Amateurs 

The following list, handled by American Play 
Co., 33 West 42nd St., New York City, are plays 
in Mss. form. See note at end of list: 

1. Art and Opportunity. —Harold Chapin. 

Comedy. Three acts. Five males, 2 females. 

Two interior, 1 exterior. 

Extremely clever play for clever audience. 
All roles have excellent opportunities. Pauline 
Cheverelle, thejead, interesting development in 
new adventuress type. Earl is a delightful “old 
man” study; his sister, arrogant, proud old lady. 
Play in which the complacent superiority of 
English nobility is keenly satirized. 

2. Brother Officers. 

Eleven males, 4 females. Two interior, 1 ex¬ 
terior. 

3. Bubble, The 

Comedy. Three acts. Three males, 2 females. 

One interior throughout—“living room back 
of Delicatessen store.” Gustave, the German 
delicatessen proprietor, who is taken in by a 
very smooth crook and gets rich quick, is an 
excellent German comedy role. The wife and 
Gustave will keep the dullest audiences in roars 
of laughter with their funny, quaint dialect and 
phraseology. The crook, a newspaper man, juve¬ 
nile lead, and daughter of Gustave, are all good 
parts, requiring skilled players. 

4. Caught In the Rain. 

Thirteen males, 4 females. Two interiors, 1 
exterior. 

5. Charley’s Aunt. 

Seven males, 4 females. Two interiors, 1 ex¬ 
terior. 

College boy masquerades as Charley’s aunt and 
chaperones a college party. 

6. The Climax. 

Three males, 1 female. One interior through¬ 
out. 

Story of a girl* with operatic aspirations who 
loses voice after throat operation. Role requires 
fine singing. 

7. Come Out of the Kitchen. 

Six males, 5 females, 3 interiers. 

8. The Copperhead. 

Ten males, 5 females, 1 interior, 1 exterior. 

See list Civil War plays. 

9. Daddy Long Legs. 

Eight males, 14 females, 3 interiors, 1 exterior. 

10. David Harum. 

Eleven males, 3 females, 2 interiors, 1 exterior. 


[ 40 ] 



Play Catalogue 


11. Disraeli. 

Fourteen males, 6 females, 4 interiors, 1 ex¬ 
terior. 

12. The Dummy. 

Nine males, 3 females, 3 interiors. 

A detective comedy, in four acts, by Harvey 
O’Higgins and Harriet Ford. A glimpse into the 
seamy side of life—a vivid picture of gambling 
den—dialogue throughout in keeping. Barney, 
splendid, boy “tough” character, who aspires to 
be a “detectuv.” 

13. Fine Feathers. 

Three males, 4 females, 2 interiors. 

A play with a strong moral lesson, showing 
to what extremities the desire for fine feathers 
will bring people. 

14. General Post.—By J. E. Harold Terry. 

Five males, 2 females, 1 interior. 

Good English play, showing that the fortunes 
of war level all ranks. Very modern, interest¬ 
ing and keen, delightful play. Splendid charac¬ 
terizations. First act is at the beginning of 
Great War. 

15. Heart of Paddy Whack.—By Rachel 
Crothers. 

Six males, 6 females, 1 interior, 1 exterior. 

See under Irish plays. 

16. Held by the Enemy.—By William Gillette. 

Fifteen males, 3 females, 5 interiors. 

Civil War drama. See under American his¬ 
torical plays. 

17. He and She.—Rachel Crothers. 

Three males, 5 females, 2 interiors. 

One of the leading successes of season ’21-'22, 
a revival. Question of woman’s proper sphere— 
in art or the home. 

18. In Old Kentucky.—By C. T. Dazey. 

Nine males, 3 females, 2 interiors, 5 exteriors. 

19. Inside the Lines.—By Earl Derr Biggers. 

Drama in 3 acts, 11 males, 6 females, 2 in¬ 
teriors. 

Story of a spy during the late war with scene 
laid in Gibraltar just before and at the time 
the English fleet passed through the straits of 
Gibraltar. Many thrilling moments. Good play. 
Excellent charatcers. Interesting play for ama¬ 
teurs to stage. 

20. Jack Straw.*—Somerset Maughran. 

Comedy, 7 males, 5 females, 2 interiors. 

Excellent play—clever character drawing. 

Difficult except for amateurs of experience. (See 
reference at end of this list.) 

Also published by Dramatic Publishing Co. 
60c. 


21. Little Minister. —Barrie. 

Twelve males, 4 females, 2 interiors, 2 ex¬ 
teriors. 

22. Machushla. 

Comedy, with singing. (See Irish.) Six males, 
4 females, 3 interiors, 1 exterior. 

23. Madame X. —From the French by John 
Raphael. 

Eleven males, 5 females, 4 interiors. 

24. Message From Mars. 

Ten males, 5 females, 1 interior, 1 exterior. 

Fantastic drama with a wholesome moral. An 
inhabitant from Mars comes to visit this earth, 
and preaches many pointed sermons. 

25. Miss Nelly of N’Orleans. 

Comedy, 4 males, 5 females. One exterior 
scene throughout. 

Quaint. Full of the real “N’Orleans” color. 
Miss Nelly, who has had an unfortunate love 
affair, comes back after an absence of twenty 
years to the home of her girlhood, and in spite 
of her added years is the devastating, audacious 
belle as of yore. Played by Mrs. Fiske. 

26. The Old Homestead. 

Eight males, 5 females, 2 interiors, 2 exteriors. 

27. Out There.—Hartley Manners. 

Eleven males, 5 females, 2 interiors, 1 exterior. 

Recruiting in England during the late war. 
Hospital scene that is good—full of comedy. 
Used by Laurette Taylor. See mention under 
Plays of late war—American list. 

28. Peter Pan. 

Twelve males, 14 females, 4 interiors, 3 ex¬ 
teriors. 

Barrie’s charming fairy play. 

29. Pollyanna. 

Five males, 6 females, 3 interiors. 

30. Poor Relation. 

Six males, 5 females, 1 interior, 1 exterior. 

“Eccentric” lead, as created by the famous 
comedian, Sol Smith Russel. 

31. Potash and Perlmutter. 

Fourteen males, 8 females, 3 interiors. 

32. The Professor’s Love Story. 

Six males, 5 females, 2 interiors, 1 exterior. 

Middle-aged, absent-minded professor falls in 
love with his secretary and is a long time awak¬ 
ening to the fact. Whimsical, delightful play. 

33. Romance of Athlone. 

Eleven males, 7 females, 1 interior, 3 exteriors. 


[ 41 ] 





Play Catalogue 


34. Rosary, The 

Five males, 4 females, 1 interior, 2 exteriors. 

Virtue triumphant over the villain. A rosary- 
keepsake, figures prominently in the plot. 

This play is not in Mss., but in convenient 
book form. 

35. Seven Keys to Baldpate. 

Nine males, 4 females. 

Unique, mystery play. Same scene throughout. 
Splendid play for amateurs. 

36. Shavings. 

Eight males, 4 females, 1 interior, 1 exterior. 

37. Tea for Three. 

Three males, 2 females, 3 interiors. 

39. Thirty-Three Washington Square. 

Ten males, 6 females, 3 interiors. 

40. Three Faces East. 

Eleven males, 3 females, 4 interiors. 

Interesting play. Theme dealing with recent 
great war—and woman spy. 

41. Tillie.—By Helen R. Martin and Frank 
Howe, Jr. 

Comedy in 4 acts, 9 males, 5 females, 1 in¬ 
terior, 1 exterior. 

Founded on novel, ‘'Tillie the Mennomite 
Maid,” and played with great success by Patri¬ 
cia Collinge. 

42. Tish. 

Founded on Mary Robert Rinehart’s famous 
Tish stories. 

43. Yellow Jacket. 

One scene throughout. See Plays of China. 

44. The Little Father of the Wilderness. 

See under American list. 

Available for amateur use at a royalty of $50 
for each performance. 

The royalty on the above plays listed, range 
from $25 to $100 a performance. Mss. will be 
sent out, three copies at a time after the receipt 
of a check for $10 to be held as a deposit and 
refunded, etc. As many typewritten parts of a 
play will be sent after a play is decided upon 
as desired. 

American Play Co., 33 West 42nd St., New 
York City. 

John Ermine of the Yellowstone. 

Warrens of Virginia. 

The Crisis. 

Listed on previous pages. 


Plays for Advanced Amateurs. Published by 
Baker & Co., Boston. 

45. The Amazons.—Pinero.- 

Farce, 3 acts, 7 males, 5 females. Scenery, 
1 exterior, 1 interior, not difficult. Time, full 
evening. 

The three girls in Lady Castlejordon’s family 
are brought up as boys, but when the three 
“right” young men appear the Lady finds that 
her scheme has gone wrong. 

60c per copy. $10 royalty per performance. 

46. First Lady of the Land.—See under list 

American plays. 

47. Hamilton.—See under list American plays. 

48. The Big Drum.—Pinero. 

Comedy, 4 acts, 12 males, 5 females, 3 interiors. 
Acting rights reserved. 

Mackworth, the novelist, renews acquaintance 
with Ottilie de Chaumiere, with whom he had 
quarreled ten years before and their engagement 
results. Philip's lack of financial success is ob¬ 
jectionable to Ottilie’s family, whose persistent 
beating of “of the big drum for self-advertise¬ 
ment,” was the cause of original quarrel. It is 
stipulated, then, that Philip must show definite 
financial returns, and when the new novel of 
Philip’s hangs fire on publication, Ottilie buys 
up large edition. When Philip discovers this 
trick they part forever. 

60c. 

49. The Cabinet Minister.—Pinero. 

Farce, 4 acts, 10 males, 9 females, 3 interiors 
—1*/4 hours. 

An admirable, high-grade farce, strongly rec¬ 
ommended. Lady Twomblev, wife of Secretary 
of State, borrows from Joseph Lebanon, a He¬ 
brew financier, in order to keep up her position, 
and is forced in order to secure renewal of her 
notes, to introduce Lebanon and his sister into 
society. He bargains with her that in return 
for her indebtedness to him that she will divulge 
certain official secrets of her husband’s on which 
he can trade in the stock market. Her husband 
overhears the demand and arranges to have false 
information reach Lebanon; and Lady Twom- 
bley, learning this, speculates on the other side 
and Lebanon comes a cropper. Full of hu¬ 
morous incident. 

60c. Royalty $10. 

50. The Importance of Being Earnest.— 

Oscar Wilde. 

Farce, 3 acts. 

Worthing, as a means of escaping from social 
surroundings has invented a brother, Ernest, a 
youth of reputed wildness, whom he is obliged 
to succor and aid. His ward, Cicily, forms a 


[ 42 ] 



Play Catalogue 


strong hypothetic, romantic attachment for this 
hypothetical chap, and complications of very 
amusing sort result. 

(Royalty on application.) 60c. 

51. The Schoolmistress.—Pinero. 

Farce, 3 acts, 9 males, 7 females, 3 interiors. 
Easily arranged. Plays full evening. 

A principal of a select girls’ school becomes 
a comic opera prima-donna, strictly incognito, 
in order to pay off bills of her titled husband 
and leaves him in charge of the school during 
her absence. An admirable acting play with 
lots of good parts. 

Royalty $10. 60c per copy. 

52. Dandy Dick.—Pinero. 

Farce, 3 acts, 7 males, 4 females, 2 interiors— 
2*4 hours. 

Rev. Augustus Jedd, oppressed by high cost 
of living and an ambition to restore the spire 
of his church, reverts to habits of his college 
days, and places a bet on Dandy Dick, a horse 
owned by his sporty sister, Georgiana. Accident 
brings the horse to the Dean’s own stable and 
a laughable, ingenious farce is built upon this 
incident. 

Royalty $10. 60c. 

53. The Magistrate.—Pinero. 

Farce, 3 acts, 12 males, 4 females. Interiors— 
2(4 hours. 

Mr. Posket, a police court magistrate, is in¬ 
duced by his precocious stepson to make a fur¬ 
tive visit to a “sporty” restaurant. Thither 
Mrs. Posket also repairs in urgent quest of Col¬ 
onel Lukyn, the boy’s godfather. Nearly every¬ 
body in the cast assembles in the same place 
and just as the restaurant is “pulled” by the 
police. Thus it arrives that Mrs. Posket has to 
appear as a criminal in her husband’s court. The 
complications thus brought about supply two 
hours and a half of uninterrupted fun. 

Royalty $10. 60c. 

54. Cousin Kate.—H. H. Davies. 

Comedy, 3 acts, 3 males, 4 females, 2 interiors, 
2(4 hours. 

Kate Curtis, twenty-nine, meets her fate in 
the person of Heath Desmond, an artist, whom 
she encounters in a railroad train on her way 
to her aunt’s house, wholly unaware that Heath 
is the man her aunt’s daughter, Amy, is engaged 
to, and with whom Amy had quarreled. When 
Kate discovers the condition of affairs, she 
deems it her duty to sacrifice herself and reunite 
the former lovers, but Amy turns out to prefer 
the curate after all, so all ends well. A charm¬ 
ing piece—all the parts good. 

Royalty $50. 60c. 


55. The Hobby Horse.—Pinero. 

Comedy, 3 acts, 10 males, 5 females, two in¬ 
teriors, 1 exterior. 

Mrs. Jermvn’s “hobby” is poor little boys. 
Mr. Jermyn’s is horse-racing. Mrs. J. ’s plan for 
a home for her pets is converted by Jermyn into 
a retreat for broken-down sports. By a series of 
complicated, amusing and highly dramatic inci¬ 
dents the two discover the folly of their respec¬ 
tive hobbies, and all ends happily. Wholesome, 
amusing play. 

Royalty $10. 60c. 

56. Iris.—Pinero. 

Drama, 5 acts, 7 males, 7 females, 3 interiors. 
Excellent play. 

J. M. Barrie declares that Iris is the best piece 
of work from the pen of Pinero—an extremely 
difficult play to do—the part of Iris requiring 
the greatest amount of talent—a very exacting, 
difficult role. Other parts equally exacting. 
Plays full evening. 

Royalty $10. 60c. 

57. Lady Epping’s Lawsuit.—H. H. Davies. 

Comedy, 3 acts, 12 males, 7 females, 3 inter¬ 
iors, full evening. 

Lady Epping, who has written fifteen unpub¬ 
lished plays, meets Hughes, an approved dra¬ 
matist, and endeavors to combine collaboration 
with flirtation. Her subsequent lawsuit against 
him for theft of her ideas is complicated by 
damaging letters from her that have fallen into 
the hands of Mrs. Hughes, the facts developing 
in a very amusing trial scene. 

Royalty $25. 60c. 

58. The Mollusc.—H. H. Davies. 

Comedy, 3 acts, 2 males, 2 females—single in¬ 
terior—2(4 hours. 

Tom Baxter’s struggle to reform his sister, 
who has grown to be a “mollusc,” is one of the 
most delightful comedies of the last ten years. 

Royalty $50. 60c. 

59. Monsieur Beaucaire.—A dramatization of 
by H. H. Freeman. 

Three acts, 14 males, 17 females. Costumes of 
the period. Scenery, mere backgrounds, amply 
described. Plays 2 hours. 

This version of Booth Tarkington’s novel was 
made for Smith College. It is offered with the 
understanding that performances of its text will 
not be given for profit or before paying audi¬ 
ences, save for charitable purposes. 

60c. 

60. Mrs. Gorringe’s Necklace.—H. H. Davies. 

Play in 4 acts for 5 males, 5 females. One 

interior—2(4 hours. 

Mrs. Gorringe, the most delightful of all of 
Mr. Davies’ feminine idiots, has her diamond 
necklace stolen by another guest at the same 


[ 43 ] 



Play Catalogue 


house party and the unravelling of the clever 
fabric of circumstances thus provided affords a 
story of unusual thrill and interest. An admir¬ 
able group of well contrasted and vividly drawn 
characters conduct the story. Always successful. 

Royalty $50. 60c. 

61. Nathan Hale.—Clyde Fitch. 

Play in 4 acts, 15 males, 4 females, and extras, 
4 interiors, 2 exteriors. Costumes, eighteenth 
century. Plays full evening. Admirably suited 
for class work in schools of acting, its scenes 
ranging from broad farce to tragedy. 

Royalty $10. 60c. 

62. The New York Idea.—Langdon Mitchell. 

Comedy, 4 acts for 9 males, 6 females, 3 in¬ 
teriors. Plays full evening. 

“It is a social satire so largely conceived and 
so vigorously executed that it might take an 
honorable place in any dramatic literature. ... I 
find it quite hard to classify, The New York 
Idea, under any of the established rubrics. It 
is rather too extravagant to rank as a comedy; 
it is much too serious in its purport, too serious 
in its character delineation and too thoughtful 
in its wit, to be treated as a mere farce. Its 
title—not, perhaps, a very happy one—is ex¬ 
plained in this saying of one of the characters: 
‘Marry for whim and leave the rest to the di¬ 
vorce court’—that’s the New York idea of mar¬ 
riage. Like all the plays, from Sardou’s ‘Di- 
vorcans’ onward, which deal with a too facile 
system of divorce, this one shows a discontented 
woman, who has broken up her home for a 
caprice, suffering agonies of jealousy when her 
ex-husband proposes to make use of his freedom 
she has given him, and returning to him at last 
with the admission that their divorce was at 
least ‘premature.’ Divorce always means an 
ugly and painful scandal, and indeed, that is the 
implication which Mr. Mitchell, as a moralist, 
conveys to us. Altogether The New York Idea 
is, from the intellectual point of view, the most 
remarkable piece of writing I have encountered 
in America.’’—Clayton Hamilton. 

Royalty $25. 60c. 

63. A Single Man.—H. H. Davies. 

Comedy, 4 acts, for 3 males, 9 females, 2 in¬ 
teriors. Plays full'evening. 

Robin Worthington, forty-three, gets engaged 
to Maggie Cottrell, seventeen, and tries his best 
to adapt himself to her immaturities, but finds 
out in the end he is really in love with his sec¬ 
retary, Miss Hesseltine, and wins her against 
highly interesting difficulties and exciting ex¬ 
periences. A clever comedy with female charac¬ 
ters predominating. 

Royalty $50. 60c. 


64. The Thunderbolt.—Pinero. 

Comedy, 4 acts, for 10 males, 9 females, 3 in¬ 
teriors. Full evening. 

Phyllis Mortimore finds and destroys a will 
that recognizes and benefits the daughter of 
Edward Mortimore, deceased, by a secret mar¬ 
riage, to the detriment of his brothers; and the 
unravelling of circumstances thus created is the 
plot of a most dramatic play. A powerful play 
with remarkably even cast. 

Royalty $10. 60c. 

65. The Tyranny of Tears.—C. H. Chambers. 

Comedy in 4 acts, 4 males, 3 females, 1 ex¬ 
terior, 1 interior. 

Mrs. Parbury dominates her husband by facile 
tears, having her own way in all matters by the 
use of this watery weapon. But w T hen her jeal¬ 
ousy of Miss Woodward, his typewriter, leads 
her to desire her dismissal, the worm turns and 
there might have been a fatal rupture had not 
her brother George, home from the wilds of 
America, fallen in love with the cause of the 
quarrel, etc. 

Royalty, $50 each performance. 60c. 

66. The Weaker Sex.—Pinero. 

Comedy, 3 acts, for 8 males, 8 females, 2 in¬ 
teriors, not difficult. 

Sylvia, daughter of Lady Vivash, falls in love 
with Ira Lee, who years before under another 
name, had been in love with her mother, who 
now, a widow, has reverted in memory to her old 
love and finds she still cares, although she be¬ 
lieves him dead. The solution of this powerful 
situation is the frame of the play and is covered 
with abundant comedy afforded by a Suffrage 
leader and her constituents. A strong piece. 

Royalty, $10 each performance. 60c. 

Remainder of plays listed are 60c per copy and 
all play a full evening unless otherwise stated. 

67. The Romancers.—By Rostand. 

Comedy, 3 acts, 5 males, 1 female, and extra 

men. Scene, 1 exterior. Costumes fanciful. 
Strongly recommended to those seeking play of 
high merit with fine literary quality. 35c. 

68. Cyrano de Bergerac.—Edmond Rostand. 

Comedy, 5 acts, for 31 males, 10 females. 

Scenery elaborate. Costumes of period. 60c. 

69. The Fan.—By Goldoni. 

Comedy, 3 acts, for 10 males, 4 females. Scene, 
a single exterior. Costumes of the place and 
period. The version used by the Yale Dramatic 
Association. 

70. Mary Stuart.—From the German of 
Schiller. 

Tragedy, in 5 acts, for 13 males, 4 females and 
extras. Costumes of period. Scenery varied 
and elaborate. Printed from prompt-book of 
Mine. Modjeska. 25c. 


[ 44 ] 



Play Catalogue 


71. Revisor.—By Gogol. 

Comedy, in 5 acts, for 19 males, 5 females, 2 
interiors. Costumes of Russia. Version used by 
Yale University Dramatic Association. 

72. Only 38.—A. E. Thomas. 

Very delightful; highly recommended. 

Mother, aged 38, who has two young people on 
her hands, suddenly becomes charmingly reju¬ 
venated. 

Baker. 75c. 

Dulcey.—Kaufman and Connelv. 

Baker. $1.85. 

Deburau.—Sacha Guitry. 

Baker. $2.10. 


PLAYS FOR ADVANCED AMATEURS 
(Prom Denison, Publishers) 

The Laughing Cure.—Edith Painton. 

Comedy, 2 acts, for 4 males, 5 females, 1 in¬ 
terior. Time, 1% hours. Very good little 
comedy. 

A woman without a sense of humor distresses 
her family, especially when it leads to chronic 
dyspepsia. Her old physician places the case 
with his young nephew, a young M. D. just out 
of college, who prescribes regularly, every thirty 
minutes, one laugh. Full of fun and action. An 
old lady of the Auntie Doleful type, in direct 
contrast to the cheerful spirit of the play, sup¬ 
plies excellent comedy. 

No royalty. 35c. 

74. Old Maids.—Fanny Cannon. 

Comedy, 3 acts, for 5 males and 8 females. 
Two interiors. 

This might be called the tragi-comedy of a 
small town. Alma, aged 25, with a “horrible 
example’’ of a town of unmated women, accepts 
the only marriageable young man in the neigh¬ 
borhood for fear of being an old maid. But 
Caselda, an attractive and youthful seeming 
old maid arrives from New York, and in dram¬ 
atic yet laughable fashion she turns things 
around, opening the eyes of her former towns¬ 
people and saving Alma from the village beau. 
Running through the comedy is a vein of serious 
undercurrent on the status of the unattached 
female, and a hint as to the way out. Every 
person in the play is a type that invites the 
skill of the artistic performer of character parts. 
Royalty, $15; 50c per copy. 

75. When Smith Stepped Out.—Harry Os¬ 
borne. 

Comedy, 3 acts, 4 males, 4 females. Interior 
scene throughout. Two hours. 

Absent minded Uncle Bill on a visit from 
Australia, starts on a walk with a revolver in 


his pocket. He innocently robs a man of his 
watch, loses his hat, gives detectives a merry 
chase, all but breaks up one peaceful home and 
has everyone stepping about in the liveliest pos¬ 
sible manner. No star parts but strong char¬ 
acterization throughout. Royalty of $10. 50c. 

Published by Samuel French and Co., 28 W. 
38th St., New York, or 20 Southampton Road, 
London. 

Notice—The following are fully protected by 
copyright and all are subject to royalty when 
produced by either amateurs or professionals. 
Each, 60c, postage extra. 

76. When We Were Twenty-one.—H. V. Es¬ 
mond. 

Comedy, 4 acts, 9 males 5 females. Two sets. 
Costumes modern. Time, 2% hours. 

Delightful little play. Dick, lovable, quaint 
character, Nat Goodwin’s role. “The Trinity,’’ 
also excellent parts for character men. The 
Imp, heavy role for leading juvenile. Act III 
might be discreetly omitted without spoiling the 
play. 

77. An American Citizen.—Madeline Lucette 
Rvley. 

Comedy, 4 acts, 9 males, 5 females. Three in¬ 
teriors, 1 exterior. Time— 2% hours. 

Crugar, to meet liabilities of his partners, mar¬ 
ries his cousin, an English girl, on sight, whose 
father left Crugar his fortune on condition that 
he become an Englishman and marry an English 
girl. The couple part at the church door, meet¬ 
ing a year afterward at Nice. Crugar falls in 
love with his wife after losing his fortune and 
goes back to America to earn an honest living 
by manufacturing stove polish. Crugar is also 
a Nat Goodwin success. 

78. The New Boy.—By Arthur Law. 

Farcical comedy. Six males, 3 females. One 

interior scene. Time—2 Yj hours. 

Mrs. Rennick, newly married, comes to visit 
her relative, Dr. Candy, who keeps a school for 
boys, and being desirous of keeping the news of 
her second marriage from the doctor allows her 
husband to be introduced as her son. He then 
becomes a member of the school and farcical 
situations ensue. 

79. In Chancery.—Pinero. 

Farcical comedy in 3 acts. Seven males, 6 fe¬ 
males. Three interiors. Time—2 hours, 15 min¬ 
utes. 

Montague Joliffe in a railroad collision is in¬ 
jured and brought to Stapleton Junction tavern 
and upon recovery it is discovered that he suf¬ 
fers from total loss of memory. A marriage is 
arranged with the landlord’s daughter, the land¬ 
lord being a fiery tempered old gentleman. On 


[ 45 J 




Play Catalogue 


the day of the wedding there comes to the hotel 
a detective, Hinkman, looking for a man named 
Smith, clandestinely married to a ward in 
chancery. Joliffe is mistaken for Smith and 
many funny complications occur when Mr. and 
Mrs. Smith register at the hotel that evening. 

80. The Importance of Being Earnest.—By 

Oscar Wilde. 

Comedy in 3 acts. Five males, 4 females. One 
exterior, 2 interiors. Time—2(4 hours. 

Full of bright lines and epigrams. The play 
has no very serious purpose, but is witty and 
entertaining. Mr. Wilde styles it “a trivial 
comedy for serious people.” Difficult to play on 
account of the sustained serio-comedy character 
of the roles. 

81. Barbara Fretchie, the Frederick Girl.— 

Clyde Fitch. 

Play in 4 acts. Thirteen males, 6 females. 
Two interiors, 2 exteriors. Costumes of Civil 
war. (See Civil war list) 

82. Beau Brummel.—By Clyde Fitch. 

Four acts, 11 males, 7 females. 

Beautiful play woven around the character of 
the renowned Brummel, who set the fashion 
even for the king of England. Mansfield’s 
great role. Costumes of period of George II. 

83. The Dictator. — By Richard Harding 
Davis. 

Farce in 3 acts. Fourteen males, 3 females. 
One interior, 1 exterior. Plays a full evening. 

Brooke Travers, who has left New York with 
his valet on a southbound steamer, after a ques¬ 
tionable night with a cabman goes through a 
series of amusing embarrassments, emerging 
first as United States consul at a port in Cen¬ 
tral America and finally as its dictator. Juanita 
is the usual stage type of Spanish woman— 
rather unflattering and melodramatic. The farce 
is clever, however, and the dialogue bright and 
entertaining. Illustrated with scenes from the 
play. 

84. The Galloper. — By Richard Harding 
Davis. 

Comedy in 3 acts. Sixteen males, 4 females. 
One exterior, 2 interiors. Plays a full evening. 

Extremely clever play. A “galloper” is a 
war correspondent who does “stunts” on horse¬ 
back in getting news to nearest telegraph sta¬ 
tion. The comedy deals with events in the war 
between Greece and Turkey a few years ago. 
Illustrated with scenes from the play. Cope is 
an unusually fine part for comedian lead. 

85. Mice and Men.—Madeline Lucctte Ryley. 

Romantic comedy in 4 acts. Seven males, 5 

females. Three interiors, 1 exterior. Costumes 
of period of 178(5. Time—2*4 hours. 


Charming little play. Highly recommended. 
Annie Russel played leading role. Mark Em¬ 
bury, a man over 40, is of opinion that the 
perfect wife must be educated from state of 
ignorance and simplicity to the ideal of the 
man she is about to marry. He sets to work to 
work out his ideas with a Foundling girl. His 
young nephew comes on the scene and proceeds 
to upset all his uncle’s theories. 

86. The Dover Road.—By A. A. Miln. 

Three acts, 6 males and 4 females. Four 

scenes, one interior. 

As in the original writing of the play; (the 
New York stage version not as suitable nor as 
artistic with its so-called “happy ending.”) 

87. The Truth About the Blayds.—A. A. 

Miln. 

In three acts. Five males and 3 females. One 
interior. 

Two brilliant plays, full of real comedy, 
sparkling dialogue and delightful veracity and 
freshness. 

Included in one volume, $2.10. Baker. 

88. Her Own Money.—Mark E. Swan. 

Comedy in four acts. Three males, 4 females. 

Time—2(4 hours. 

A very human, “homely” vivid play—true to 
life—about ordinary people. The heroine of the 
play, the wife, has saved up $2,000 with the 
dream that it will be the installment for first 
payment on a real home in the country. A crisis 
comes when the husband needs this money, 
which she has secretly saved, and she gets a 
friend to pretend to loan the money. A jealous 
wife, a neighbor, accidently happens on this 
transaction and complications follow. A worth¬ 
while play dealing, as it sincerely does, with a 
picture from real life. 

89. Mrs. Temple’s Telegram.—Wyatt and 
Morris. 

Farce. Five males and 4 females. One in¬ 
terior scene stands throughout the three acts. 
Time—2(4 hours. 

A sprightly farce in which there is an 
abundance of fun. Mrs. Temple incredulous as 
to her husband’s explanations about his pro¬ 
ceedings, discovers him in a lie and threatens 
to go home to mother. He calls in his best 
friend to help him impersonate Brown, at whose 
house he was supposed to be staying during the 
night out. A comical tangle ensues. The char¬ 
acters and situations are rational and human 
and the dialogue is witty. A veiled moral on 
fibbing is revealed at the close. It is a play 
that should appeal to all audiences—well bal¬ 
anced cast and therefore most interesting for 
amateur production. Highly recommended for 
an evening of hilarious fun. 


[ 46 ] 



Play Cat a l oc.ue 


90. Under Fire.—Eoi Cooper Megrue. 

Melodrama. A play of yesterday, today and 

tomorrow. Three acts. Some 29 male characters 
and extras with 4 female parts. Three interiors, 
1 exterior. 

Stirring play dealing with recent war. Good 
scenes in Act II when the Germans come into 
the little peaceful Belgian town, and a particu¬ 
larly fine scene in the ruined church, Act. III. 
Full of historical accuracy and authority. A 
play to be depended upon to always furnish 
thrills. 

91. Adventure of Lady Ursula.—Anthony 
Hope. 

Comedy in 4 acts for 12 males and 3 females. 
Four interior scenes. Costumes old English of 
early 18th century. Time—2*4 hours. 

Lady Ursula dons her brother’s clothes and 
goes to Sir George’s house to dissuade him from 
lighting a duel with her elder brother, Lord 
Hassenden, the cause of the duel being a fool¬ 
ish prank of her own. The play is bright and 
effective and the dialogue witty in the manner 
of the 18th century. 

92. The Prince Chap.—By Edward Peple. 

Comedy in three acts for (i males and 6 fe¬ 
males—one of these a child of 6. Two interiors. 
Plays a full evening. 

F’ull of gentle laughter and sweet sentiment. 
A young American sculptor in .London working 
hard to make a name for himself adopts an 
orphan girl of six whose mother had been a 
model. His American fiancee on a visit to Lon¬ 
don becomes jealous of his great love for the 
child, and in a fit of pique marries another man. 
The girl, grown to womanhood, fills the artist’s 
life so completely that he asks her to become 
his wife. The brother artists in a Christmas 
eve scene filling the stocking of the orphan is 
a delightful scene. Lines in beginning of play, 
stock conversation of artists’ studios, might well 
be omitted. 

93. The Man of the Hour.—George Broad- 
hurst. 

Play in 4 acts. Thirteen males, 3 females. 
Four interiors. Time— 2% hours. 

In this famous play Mr. Broadhurst has mixed 
love and politics in an absorbing manner. Tak¬ 
ing the theme of graft in municipal affairs he 
has made the work timely and has shown the old 
conflict between love and duty under new and 
interesting conditions. Alwyn Bennett, who be¬ 
comes the man of the hour, is the son of a rich 
financier, deceased, and has a kind, indulgent 
mother. He is an idler. He loves Dallas Wain- 
wright, the niece of a wealthy and scheming 
man. Before Dallas will marry him she urges 
him to do a man’s work. Bennett becomes 
mayor, elected by Horrigan and his gang, and 


the play deals with the difficulties of Bennett 
to keep true to his mother’s maxims to do his 
duty and keep straight. A strong, pleasing play. 
The leading juveniles provide the usual humor. 

94. Robina in Search of a Husband.—Jerome 
K. Jerome. 

Farce in 4 acts. Eight males, 4 females. Same 
interior scene throughout. Time— 2 1 /, hours. 

An amusing mistaken identity play handled 
by the great English humorist in his best vein. 
The scene is placed in “the sitting room of 
The Dove-Cote, a romantically situated lonely 
little inn in Wales, frequented by honeymoon 
couples and anglers.” 

95. Green Stockings.—A. E. W. Mason. 

A delightful comedy in 3 acts for 7 males and 
5 females. Played originally in two interiors, it 
can easily be played in one interior. Time—2V4 
hours. 

This is a merry play, both plot and dialogue. 
The plot deals with the custom whereby an elder 
sister is compelled to wear green stockings at 
the wedding of her younger sister, provided she 
herself happens to be unmarried or unbetrothed. 
Celia Farraday has worn the hated green stock¬ 
ings twice and she rebels as time for the wed¬ 
ding of youngest sister approaches. She in¬ 
vents a sweetheart who bears the name of 
Smith and excuses his non-appearance by saying 
that he is in Africa. She writes a letter to him, 
intending to destroy it, but it is discovered by 
some one and mailed. An officer by the name 
of Smith in her Majesty’s service receives the 
letter. His interview with Celia results in a 
series of laughable situations that terminate 
happily. Green Stockings is a comedy of un¬ 
alloyed delight. 

96. The Lion and the Mouse.—Chas. Klein. 

Play in 3 acts for 10 males and 8 females. 

Time—2V-> hours. 

The story of a young girl’s battle with an 
American money king. It is founded on an at¬ 
tempted impeachment of a federal judge before 
the United States senate and this play ranks 
as one of the greatest successes the American 
stage has known. The battle of wits between 
the unscrupulous millionaire and a delicate but 
plucky girl is a story of absorbing interest. 

97. The Little Gray Lady.—Channing Pol¬ 
lock. 

A play without a hero. In 4 acts. Six males, 
5 females. One exterior, 2 interiors. Time—2*4 
hours. 

A story of government office life in Washing¬ 
ton. Its people are middle class people, most of 
whom are clerks employed in redemption office 
of the treasury department. 


[ 47 ] 



Play Catalogue 


98. Held By the Enemy.—Gillete. 

Military drama in 4 acts for 14 males and 3 

females. See Civil War list also for 

Secret Service—Gillette. 

Four acts, 1C males, 5 females. 

99. The Speckled Band.—Arthur Conan Doyle. 

An adventure of Sherlock Holmes in 3 acts. 

Sixteen males and 3 females. 

100. A Bachelor’s Romance.—Martha Morton. 

Comedy in 4 acts. Seven males, 4 females. 

The bachelor, a big-hearted bookworm, falls 

in love, unknowingly, with his charming ward. 
All the remaining parts are good and interesting 
to develop—a worldly widow, Savage, a literary 
hack; Gerald, a fop, etc. 

101. The Superior Miss Pellender.—Sydney 
Bowkett. 

Comedy, 3 acts, 2 males—one a boy—4 fe¬ 
males. One exterior, 1 interior. Time—2 hours. 

One of the cleverest comedies written for a 
small cast. Each member of the Pellender fam¬ 
ily strongly characteristic—the mother, a gentle 
pretty widow, who falls, in love with the diffi¬ 
dent Mr. Tister, a role played by Cyril Maude, 
is reluctant to break the news of her approach¬ 
ing marriage to her eldest, the superior Miss 
Pellender. In ultimate desperation they elope, 
leaving a note behind explaining. An extremely 
useful play for a small company of marked 
talent. 

102. Strongheart.—Wm. De Mille. 

American comedy, 4 acts, 17 males, 5 females. 

(See under list American plays.) Also published 
by Baker. 

103. The Builder of Bridges.—Alfred Sutro. 

Drama, 4 acts, 5 males, 4 females. Three in¬ 
teriors. 

Excellent play requiring the highest art from 
the players. Dorothy Faringay, already engaged 
to one man, schemingly seeks the love of Ed¬ 
ward Thursfield, the builder of bridges, in order 
to use his influence for a weak brother whom 
she loves immoderately. Brilliant dialogue and 
finely constructed play. The character of 
Thursfield stands out as a fine figure of a man 
amid all of Sutro’s fine characterizations. 60c. 

104. Captain Letterblair. — Marguerite Mer¬ 
ton. 

Comedy, 3 acts, 8 males, 3 females. Three 
interiors. 

Letterblair of the Royal Irish Fusiliers, de¬ 
lightful Irish character, played originally by 
E. H. Sothern. The copy is profusely illustrated 
from original production. 75c. 


105. Brignol and His Daughter.—From the 

French of Alfred Capus. 

Comedy in 3 acts. Three males and 4 females. 
An impecunious father desires to marry off 
his daughter to square his gambling debts, but 
love eventually triumphs and Cecile, the daugh¬ 
ter, marries the man of her heart. 60c. 

106. The Cap and Bells.—Robert Vansittart. 
Comedy in 3 acts. One interior throughout. 
This play, produced at The Little Theatre, 

London, is a very advanced little play suitable 
for a thinking audience. The theme revolves 
upon English politics and snobbery versus 
democracy—personal ambition being sacrificed 
for true love. 60c. 

107. Heartease.—Chas. Klein and J. I. C. 
Clark. 

Romantic comedy. Three acts; one male, 4 
females. Costumes of 18th century. 

Heartsease is the name of a song which a poor 
composer, in l'ove with a lady of the nobility, 
dedicates. Fate keeps them apart and the song, 
which has been pirated by his rival, is the means 
of bringing the lovers together at last. 50c. 

108. The Three of Us.—Rachel Crothers. 

Play in 3 acts. Seven males and 3 females. 

Time—2hours. 

The “point” about the play is that it treats 
mining camp life from a new standpoint, de¬ 
picting the affairs of a tenderfoot colony in one 
of the Nevada digging centers. The play is 
well constructed and acts capitally and has been 
a tremendous success. 60c. 

109. The Witching Hour.—Augustus Thomas. 
Play in 4 acts for 12 males, 3 females. Two 

interiors. Time—2 y 2 hours. 

Gamblers, hypnotism, telepathy and love all 
figure in this unusual play in which the recreants 
all reform before the final curtain. 60c. 

110. In Mizzouri.—See American list. 

111. The Littlest Rebel.—Edward Peple. See 

Civil War list. 

112. Oliver Goldsmith.—Augustus Thomas. 
Play in 3 acts for 18 males and 6 females. 

A charming and picturesque play about one of 
the most interesting “masters of literature;” 
introduces a rehearsal of Goldsmith’s play, “She 
Stoops to Conquer.” The characters of Dr. 
Samuel Johnson, Boswell, David Garrick, Ed¬ 
mund Burke and Goldsmith’s sweetheart figure 
prominently in the play. 75c. 

113. Peg o’ My Heart.—See Irish plays. 


[ 48 ] 



Play Catalogue 


114. The Big Idea. —A. Thomas and Clayton 
Hamilton. 

Play in 3 acts, 7 males, 4 females. 

A young man’s father has used funds of a 
bank and the young man contemplates suicide 
to collect on an insurance policy that will re¬ 
place the money. Instead he writes a play and 
The Big Idea is the play of how he writes the 
play. Full of amusing scenes. 75c. 

116. The Rogue’s Comedy. —Henry Arthur 
Jones. 

Sixteen males, 7 females, 3 interiors. 

L. Prothero, clever at feigning clairvoyant 
powers, carries on his unscrupulous business un¬ 
til his own son, whom he has sent to respectable 
relatives to be brought up, discovers his “fake” 
second sight. The son is about to marry a girl 
of fine family and Prothero and his wife leave 
the country in order that the son may never 
know the true condition of affairs. A brilliant 
play, suited to amateurs of professional talents. 
60c.* 


THE PLAYS OF J. M. BARRIE 
(French and Baker) 

Price per volume, $1.10 net; postage extra. 

What Every Woman Knows. 

Four acts, 5 males, 4 females and extras. 

Maggie, the heroine, was a great success 
played by Maude Adams. 

Maggie is “the man behind the gun” in her 
husband’s career. The play shows that a woman 
should never let a man know that she is the 
brains in any kind of a partnership. 

The Admirable Crichton. 

Four acts, 7 males, 6 females. Scenery, dif¬ 
ficult. (As played in America by Wm. Gillette.) 
The butler of an English family becomes the 
hero. 

Quality Street. 

Quaint as could be desired. Costumes and set¬ 
ting, mid-Victorian. Delightful little role of the 
prim little school teacher, who would have a 
love affair or die in the attempt. Another 
Maude Adams’ success. Large cast. One prin¬ 
cipal male. Five important female roles. 

The Professor’s Love Story. 

French. 

Alice-sit-by-the-fire. 

Three acts, 3 males, 6 females. 

Baker and French. 


* See addenda. 


A Kiss for Cinderella. 

One principal male role, 3 or 4 subordinate 
roles, 3 principal female roles, and many versa¬ 
tile children. 

Dear Brutus. 

Delightful, fanciful. Several leading roles 
and big part for a little girl about twelve. 

French. 

Peter Pan. 

French. 


THE PLAYS OF SIR ARTHUR PINERO 

For more detailed description see under head of 
Baker Publications. Each volume, price 
50c, post extra. French Publications. 

127. The Times. 

Comedy, 4 acts, 6 males, 7 females. 

128. The Magistrate. 

Farce, 3 acts, 12 males, 4 females. 

129. The Hobby-Horse. 

Comedy, 3 acts, 10 males, 5 females. 

130. Dandy Dick. 

Farce, 3 acts, 7 males, 4 females. 

131. Schoolmistress. 

Farce, 3 acts, 9 males, 7 females. 

132. Weaker Sex. 

Comedy, 3 acts, 9 males, 7 females. 

133. The Amazons. 

Farce, 3 acts, 7 males, 5 females. 

134. The Cabinet Minister. 

Farce, 4 acts, 9 males, 9 females. 

135. In Chancery. 

See above, in list. 

136. Trelawney of the Wells. 

Comediette, 4 acts, 10 males, 8 females. 

137. Iris. 

Drama, 7 males, 7 females. 

133. Thunderbolt. 

Drama, 4 acts, 10 males, 7 females. 


DRAMA 

Disraeli. —Louis N. Parker. 

$1.00 net. 

139. The Cassilis’s Engagement. —St. John 
Hankin. 

Comedy, 4 acts, 1 exterior, 3 interiors—2 y 2 
hours. 


[ 49 ] 




Play Catalogue 


Judicious cutting of lines will render this a 
suitable play. Amateurs seeking a good society 
drama will enjoy this play, which calls for Mrs. 
Cassilis, grande dame, to her finger tips; Geof¬ 
frey, young Englishman, who falls in love with 
a commoner; Ethel Borridge, loud, handsome, 
plebian; Mabel, her aristocratic rival; Mrs. 
Borridge, the vulgarian mother of Ethel, and 
Major Barrington; several minor parts, making 
a total cast of 4 males and 8 females. 

140. Young Mrs. Winthrop. 

Four acts, 5 males, 4 females, 1 interior. 

Clever play on the divorce theme. Young Mrs. 
Winthrop and her husband are reconciled upon 
the death of their darling child of five years. 
Scott is a splendidly drawn part, and Mrs. Dick 
Mackenzie, the woman of many divorces. There 
is a blind girl ingenue. 

141. A Brace of Partridges.—Robert Gan- 
thony. 

Farcical comedy in 3 acts, 12 males, 3 females, 
2 interiors, 2 hours. 

A capital play for amateurs, but requiring an 
actor with versatile gifts for the dual impersona¬ 
tion of the two cousins, Hon. Alfred Partridge 
and his cousin, five times removed; one serious, 
the other gay and irresponsible. The Yorkshire 
“old man” could well be eliminated for the 
dialect is not intelligible to American audiences 
and indelicate passages would have to be cut, 
and this rural part could be changed. 

142. Such a Little Queen.—Channing Pollock. 

Comedy, 4 acts, 12 males, 5 females, 1 ex¬ 
terior, 3 interiors. 

A romantic play written about a king and 
queen in exile in New York. The queen takes 
a job in an office and a very prosaic business 
man falls in love with her, but when the king 
stops being a gentleman of leisure and really 
does something worth while, during the later 
development of the play, the queen sees her 
noble fiance in a new light and loves him. Com¬ 
plications arise, the queen has a big scene where 
she refuses her royal lover for the good of her 
country, but before the close of the play all is 
happily readjusted. 

Baker and French. 60e. 

143. The Royal Mounted.—Cecil dc Mille. 

Play, 4 acts, 11 males, 2 fqmales (can be 

played 9 males and 2 females), 1 interior, 3 ex¬ 
teriors. 

A thrilling drama of the Canadian Northwest. 
A fascinating Irish hero, lead. 

60c. 

144. Summer Is a-Comin’ In.—Louis N. 
Parker. 

A light comedy in three acts, one of the newest 
from the pen of Louis N. Parker, 1922, for ■> 
males and 6 females. Same interior throughout. 


The old English round Summer is a-comin’ in, 
which is prettily introduced in the quaint little 
play, is responsible for the title. Four war- 
weary bachelors go to a quiet retreat in Devon 
to vegetate and are followed there by pursuing 
fates in the persons of a quartette of lovely 
girls. 

French and Baker. 75c. 

145. Billeted.—F. Tennyson Jesse and H. 
Harwood. 

Comedy, 3 acts, 4 males, 5 females. One easy 
interior scene. 

A charming comedy, constructed with uncom¬ 
mon skill, abounding in clever lines. 

Two British army officers are billeted by their 
government in the home of Betty Faradine, and 
it eventually happens that the husband from 
whom she has separated is one of the officers, 
and of course there is a beautiful reconciliation. 
The complications have been handled and devel¬ 
oped with amusing and delightful effect. 

60c. 

146. The Country Cousin.—Booth Tarkington 

and Julian Street. 

Comedy, 4 acts, 7 males, 6 females, 2 interior, 
1 exterior, 2(4 hours. 

Comedy is its keynote, though it has a few 
moments of tense drama and an underlying note 
of seriousness. The first act is laid in (one of 
those middle western towns that Tarkington 
writes about with such realism and with such a 
flavor of humorous insight. The heroine is a 
delightfully unhackneyed character. 

75c. 

147. Grumpy.—Horace Hodges and Wigney 

Pereyval. - 

Play 4 acts, with 9 males, 3 females, 2 easy 
interiors, 2(4 hours. 

This is the celebrated play in which Cyril 
Maude originated the part of an apparently half 
senile old man with a crusty exterior, but a won¬ 
derfully kindly nature and the keen wit and 
indomitable courage of a Sherlock Holmes. The 
story deals with the robbery of a large uncut 
diamond and the detection of the thief through 
the shrewdness of the old man. Grumpy is a dis¬ 
tinct novelty. 

75c. 

148. Merely Mary Ann.—Israel Zangwill. 

Comedy, 4 acts, 8 males, 10 females, 2(4 hours. 

One of the most charming, sentimental com¬ 
edies of modern times. Mary Ann is a slave 
in a London “professionals’ ’’ lodging house. 

75c. 

149. Happiness.—J. Hartley Manners. 

Comedy, 4 acts for 5 males, 7 females, 2 in¬ 
terior scenes, 2(4 hours. 

It is described by the author as a “comedy of 


[SO] 



Play Catalogue 


character,’’ and it presents various phases in the 
development of Jenny Wreay, a child of the 
people. 

60c. 

150. The Confession. —James Halleck Reid. 

Drama, 4 acts for 11 males, 2 females, 4 in¬ 
terior. Plays full evening. 

Play designed to show the sacredness and 
inviolability of the confessional. 

75c. 

151. The Passing of the Third Floor Back.— 

Jerome J. Jerome. 

Play, 3 acts, for 6 males, 6 females, 1 interior. 
Plays full evening. 

An allegory written as a fascinating sermon 
that there is fundamental good in every one. 
The chief character in the play shows how this 
can be brought out. 

75c. 

152. The Art of Being Bored. —Edouard Pail- 
leron. 

Comedy, 3 acts, for 11 males, 9 females. 

Probably the best known and most frequently 
acted comedy of manners in the realm of 19th 
century French drama. It is replete with wit 
and comic situations. 

35c. 

153. A Scrap of Paper. —Adapted from Sar- 
don, by Palgrave Simpson. 

Comedy, 3 acts, 6 males, 6 females, 3 interiors. 

A comedy of the Crinoline period in France— 
rather old fashioned in treatment in comparison 
to modern drama, exceedingly interesting as a 
revival. The part of Suzanne a tine part, full of 
possibilities. The first act arouses a keen in¬ 
terest that is not permitted to flag until the in¬ 
significant but mischievous scrap of paper is de¬ 
stroyed as the curtain falls. 

30c. 

154. Pilkerton’s Peerage. —Anthony Hope. 

Comedy, 4 acts, 7 males, 2 females, 2 interiors. 

A play of English politics, with very clever 

dialogue and well drawn characters. Only could 
be played for very clever, well informed audi¬ 
ence, as the satire and subtle flashes of wit are 
so adroitly woven into the movement; and the 
talk of title-getting is only for the initiated or 
boredom will result. 

French & Co. 60c. 

*155. Jack Straw. —Somerset Maughran. 

Exceedingly clever and brilliant play, splendid 
dialogue. A^play of vivid, delightful interest. 
Jack Straw is a young man of the elite in Eng¬ 


*Published by Dramatic Publishing Co. Also 
60c. 


lish society, w r ho becomes a waiter. Intensely 
funny situations. 

Baker.* 

156. Smith. —Somerset Maughran. 

The story of the prodigal who comes back 
from Australia, now a wealthy, settled down 
man, and w r ho finds the only wholesome, un¬ 
scheming woman among the women he meets, 
and therefore the only one he deems worthy of 
making his wife is the maid Smith in his sister’s 
employ. 

Baker.* 

157. *Too Much Johnson. 

Three acts, 10 males, 3 females, and extras for 
negro “hands” on the plantation. 

Two settings—the cabin of a steamer and a 
room in a Cuban coffee plantation, decorated 
with all sorts of tropical palms and branches. 

Although a farcical comedy it is difficult to 
produce because of scenery and because of the 
comedy lead, Mr. Augustus Billings, a role dif¬ 
ferent from the ordinary farceur—played all 
the way through in a very serious key. 

158. Milestones.— Arnold Bennett. 

Three acts, 9 males, 6 females. 

A story of three generations which is pre¬ 
sented in three different acts. Actors must be 
versatile, able to convey the three different ages 
required of them for each act. Serious play. 

Baker. $1.35. 

159. Magic.—Gilbert Chesterton. 

Three acts, 6 males, 1 female, 2 settings. 

Baker. $1.35. 

160. Mary Goes First.—Henry Arthur Jones. 

Comedy, 3 acts and an epilogue, 8 males, 4 

females. The same interior throughout. 

Mary must be a capable actress. Her foil 
must be capable of being a veritable “door¬ 
mat.” Mary, tired of always giving place to 
this woman, in one of her impulsive moments 
speaks her mind too freely, and an injudicious 
remark is taken up by the other woman as an 
insult. Time does not mend matters, and as 
Mary won’t apologize, matters grow into war¬ 
fare. The redoubtable Mary swings affairs so 
that her ambitions are realized and the downfall 
of her enemy and the final denouement are deli¬ 
cious. 

*French.. 75c. 

The Dover Road.— By A. A. Milne. 

Three acts, 4 scenes, 1 interior, 6 males, 4 fe¬ 
males. 

Should be presented as in the original writing 
of the play. The New York stage version is not 
as suitable nor as artistic with its so-called 
“happy ending.” 


[SI] 




Play Catalogue 


The Truth About Blayds. —A. A. Milne. 
Three acts, 5 males, 3 females, 1 interior. 
Baker. In Three Plays. $2.10. 


FOR ADVANCED AMATEURS 

(Published by Penn.) 


163. Engaged.— By W. T. Gilbert. 

Burlesque comedy in 3 acts for 5 males, 5 fe¬ 
males. Scene, landscape and interior. Costumes 
modern. Two hours, 20 minutes. 

A young man is engaged to three ladies at the 
same time. The warmth of their ardor changes 
with his varying fortunes and there is doubt 
until the last whether he is not already the hus¬ 
band of one of them by a “Scotch marriage.” 
The final solution is concealed until the very 
last. 

25c. 

164. Pygmalian and Galatea. —W. S. Gilbert. 

Original mythological comedy in 3 acts for 5 

males, 4 females, 1 interior, 1% hours. Costumes 
Grecian. 

25c. 

165. Sweethearts. —W. S. Gilbert. 

Comedy, 2 acts for 2 males, 2 females. Time, 

20 minutes. Scene, exterior—same for both acts. 

If well acted this is a beautiful little play. A 
young couple, who really care for each other, 
part without marrying. After a long time he 
comes back from India, finds her still unmarried 
and the old love is rekindled. 

A great favorite with professionals, but 
equally successful with amateurs. 

25c. 


LESS DIFFICULT PLAYS 
(Plays of Medium Difficulty) 


1. What Happened to Jones. —Geo. Broad- 
hurst. 

Farce, 3 acts, 7 males, 6 females, 1 interior 
scene throughout—2 (4 hours. 

A professor of anatomy is lured to a prize 
fight, where the police make a raid and the pro¬ 
fessor makes an inglorious escape to his home, 
followed by Jones, a travelling salesman. The 
household of the professor is hourly expecting 
a visit from a relative, an Anglican bishop, and 
as some of his baggage has already arrived, 
Jones hits on the scheme of donning the bishop’s 
clothes, and this deceives the police when they 


come on the trail of the men they are pursuing. 
The fun commences from this moment, as the 
Anglican minister is secretly engaged to a dis¬ 
tant relative of the professor’s. This celebrated 
farce has been a tremendous success for years 
on the professional stage. 

50c. 

2. The New Boy. 

Listed in foregoing list, but only difficult in 
characters. Adaptable to all grades of amateurs. 

3. Fanny and the Servant Problem. —Jerome 
K. Jerome. 

Comedy, 4 acts, 5 males, 17 females. One 
interior scene stands throughout—2(4 hours. 

Fanny, an orphan, takes to the stage and meets 
Vernon Wetherele, a landscape painter, who is 
none other than Lord Bantock, disguised as an 
artist. Fanny becomes Lady Bantock and, tak¬ 
ing her place at the head of her establishment, 
discovers that the butler is her uncle and that 
the twenty-three servants are all relatives of the 
aforesaid butler and of hers, having been, as a 
family, in the employ of the Bantocks for three 
generations. How this results is the theme of 
the play, which all ends happily. 

50c. / 

4. Beauty and the Barge.—W. W. Jacobs and 
Louis N. Parker. 

Farce, 3 acts, 8 males, 5 females, 2 exteriors, 
1 interior. 

A rollicking, boisterous farce, one act of which 
is acted on the barge—broad comedy furnished 
by “sailors’’ on the barge. Suitable for audi¬ 
ences who like heavy, old-fashioned type of wit. 
Sailors ’ chanteys, designing widows, irate 
father, broad comedy. Lead, Captain of the 
barge, played by Cyril Maude. 

60c. 

5. My Friend from India. —Du Souchet. 

Farcical comedy in three acts for 7 males and 
5 females. Two easy interiors. Time, 2(4 hours. 

The leading characters in this farce are a re¬ 
tired Kansas City pork packer who brings his 
family to New York to break into “society,” 
his son, who has a penchant for breaking plate- 
glass windows and a barber who makes a hobby 
of theosophy. The son, to get himself out of a 
scrape, introduces the barber to his father as an 
old friend from India and a learned pundit. The 
old man welcomes him as a means to advertise 
his obscure family. A frank, wholesome farce 
that is full of fun and contains a number of 
novel and ingenius situations. 

French. 50c. 


152 } 




Play Catalogue 


6. Niobe.—Harry and Edward Poulton. 

Fantastic comedy in 3 acts. Five males, 7 fe¬ 
males. Same interior throughout. 

Story is of the revivification of the statue of 
Niobe, in the keeping of Peter Dunn, an insur¬ 
ance agent. “Niobe” contains many good— 
almost self-acting parts—that of Niobe being 
especially effective with its combination of 
queenly majesty and naivete in the midst of her 
modern surroundings. 

French. 50c. 

7. The Fortune Hunter.—Winchell Smith. 

Comedy in 4 acts. Seventeen males, 3 females. 

By doubling can be played 11 male, 3 female 
parts. Three interiors, 8 exteriors. Time, 2 l /z 
hours. 

Upon the advice and capital of his friends, 
Nat Duncan embarks on a wife-hunting expedi¬ 
tion, on the theory that in a small town there is 
always at least one girl who has a fortune. Dun¬ 
can ’s experience proves the theory, for the 
banker’s daughter falls in love with him. It has 
been part of the program that Duncan live 
quietly and work for a year within the village 
to which he goes and he finds that work is in¬ 
teresting and brings its own rewards, and the 
girl to make him happy does not happen to be 
the girl with a fortune. A charming, wholesome 
play, touched with tender humor and filled with 
quaint philosophy. 

French. 50c. 

8. Peaceful Valley.—Edward E. Kidder. 

Comedy, 3 acts, 7 males, 4 females. 

A classic of its kind, largely responsible for 
the great success of the late Sol Smith Russell, 
who created the part of Hosea Howe. The hu¬ 
man touches that round out the history of the 
brave, awkward, tender-hearted Howe, who 
waited on table of a summer hotel to send him 
through college, his love for his mother, his 
adoration for the daughter of the New A ork 
millionaire, his flashes of wit, his righteous 
wrath against wrongdoers, all make up a com¬ 
plex and marvelous character. There are two 
hours of intense enjoyment and the play is clean 
and uplifting. All parts good. 

French. 50c. 

9. Miss Hobbs.—Jerome K. Jerome. 

Comedy-drama, 4 acts, 5 males, 4 females. 
Scenery—One cabin of a boat and two interior 
scenes. Time, 2% hours. 

Miss Hobbs despises men, and encourages Mrs. 
Percival Kingsearl to slight her husband. Wolf 
Kingsearl, a relative of Percival, turns up un¬ 
expectedly and makes a bet that he will kiss 
Miss Hobbs within a month; Miss Hobbs mis¬ 
taking Wolf for Percival, permits Wolf to flirt 
with her in order to show Mrs. Percival the brute 
that she has married. She finds she has the 


wrong man and is afterwards won by Wolf in 
an amusing yacht scene where he pretends the 
vessel is drifting into a fog. 

French. 50c. 

10. Pomander Walk.—Louis N. Parker. 

Comedy in 3 acts. Costumes, early 18th cen¬ 
tury. Ten males, 8 females. Time, 2 l /z hours. 

The play is supposed to take place on a quaint 
little street, and the three acts arc devoted to 
the every day doings of those who reside on 
Pomander Walk. 

French. 50c. 

11. The Man from Mexico.—Du Souchet. 

Farcical comedy, 3 acts, 10 males, 4 females. 

A reputable New Yorker, Benjamin Fitzhugh, 

to extricate himself from an embarrassing pre¬ 
dicament tells his wife he has been called to 
Mexico on business, and then goes to serve a 
sentence in jail under an assumed name. Action 
of play is quick, the plot droll and easy to stage. 
A great favorite with amateurs. 

French. 50c. 

12. Rejuvenation of Aunt Mary. — Anne 
Warner. 

Comedy, 3 acts, 7 males, 6 females, 3 interior. 
Time, 2% hours. 

Aunt Mary is a kind-hearted, peppery-tem- 
pered spinster, who has slept most of her exist¬ 
ence in the country and arrives in New York to 
hunt up a scamp of a nephew whose guardian she 
is, just at the time he is giving a party to his 
friends. They proceed to give Aunt Mary a good 
time and she falls in with the brisk pace. There 
is genuinely funny comedy with splendid parts 
for Aunt Mary, Jack, the nephew, Lucinda, maid 
of all work, Jack’s three chums, the girl, and 
Joshua, Aunt Mary’s hired man. 

French. 50c. 

13. A Pair of Sixes.—Edward Peple. 

Comedy, 3 acts, 8 males, 4 females, 2 interior 

scenes. Time, 2 1 / f> hours. 

Delightful comedy which has excited such 
furores of fun and praise as has never been ex¬ 
ceeded in the history of metropolitan theatricals. 
Two partners in the pill manufacturing business, 
after much squabbling as to who is head of the 
establishment, agree to disagree. Their attorney 
suggests to settle the dispute by playing a show- 
down hand of poker. A pair of sixes wins. By 
the terms of the contract the loser becomes the 
other man’s servant for a year. Entangling sit¬ 
uations create no end of amusing complications 
and the hilarious fun moves along with the 
speediest action. Highly recommended. 

French. 50c. 


[55] 



Play Catalogue 


14. Officer 666.—Augustin MacHugh. 

Melodramatic farce, 3 acts, 7 males and ex¬ 
tras, 3 or 4 policemen, 3 females. One interior. 
Time, 2 1 /> hours. 

The story of Officer 666 is about a gentle¬ 
manly burglar who is a student of art. His 
particular hobby is old paintings. The play is 
filled with dramatic surprises and clean fun that 
is particularly appealing. It is an American 
farce that is full of pungent wit, smart chatter 
and electrifying situations. Excellent for ama¬ 
teurs. 

French. 50c. 

15. Rolling Stones. —Edgar Selwyn. 

Melodramatic comedy, 4 acts, 12 males—four 

of them only bits—and 5 females, 3 interiors. 
Time, 2% hours. 

Buck Ryder and Dave Fulton, out of work, 
desperate, both discover each other ready to suc¬ 
cumb to temptation. Buck “holds up” Dave as 
he is about to commit suicide on a bridge. The 
two, brought face to face suddenly, realize the 
<mormity of their imminent crimes; they deter¬ 
mine to make one more desperate fight for a 
chance. A peculiar turn of fate throws Oppor¬ 
tunity in their way. How these two rolling 
stones become successful business men and mas¬ 
ters of their fate is the theme of the play. 

French. 60c. 

16. The Girl and the Pennant. —Rida Johnson 
Young. 

Comedy, 4 acts, 10 males, 3 females. 

A baseball play. The girl has inherited a 
baseball team from her uncle. The story deals 
with the triumph of the girl over some crooked 
managers. 

French. 50c. 

17. Stop Thief. —Carlyle Moore. 

Farce in 3 acts, 8 males, 5 females. 

Full of swift action, snappy dialogue, and 
climatic surprises. 

18. It Pays to Advertise. — Roi Cooper 
Megrue. 

Farce, 3 acts, 8 males, 4 females. 

One of the most amusing and ingenious plays 
of recent years. A great success with amateurs. 

19. Hawthorne of the U. S. A. —J. B. Fagan. 

Romantic farce, 3 acts, 15 males, 3 females. 

Douglas Fairbanks played the part of the 

American involved in turmoil and intrigue in the 
Balkans. Love interest, action and comedy are 
the component parts of the play. 

French. 50c. 

20. Believe Me Xantippe. —Frederick Ballard. 

Farce comedy, 4 acts, 7 males, 3 females— 

could be played by an all male cast. Three in¬ 
teriors. Time, 2% hours. 


George MacFarland makes a bet with two 
friends that he can get away with forgery and 
elude the police for a year. The police are sup¬ 
plied with a full description of MacFarland, in¬ 
cluding his favorite expression; and how he 
eludes the trail and what happens to him is 
brought out in a very amusing and excellent 
farce. Very funny situations and crisp, witty 
dialogue. A sure-fire entertainment. 

French. Also published by Baker. 

21. A Tailor Made Man.—Harry James Smith. 

Comedy, 4 acts, 9 males, 8 females, 3 interiors. 

Time, 2 x /4 hours. 

A play about a young man’s ambition, with 
a sympathetic appeal that places it among the 
very first plays of its class. 

French. 75c. 

22. The Little Teacher.—Harry James Smith. 

Eleven males, 10 females, 2 interiors. Time, 

2 1 /£> hours. 

Scenes in the school room give opportunity to 
employ some clever children. 

French. 75c. 

23. Little Women.—Dramatized by Marion 
de Forrest. 

Five males, 7 females, 1 interior, 1 exterior. 
Time, 2% hours. 

The play from the well known book is charac¬ 
terized “as charming and sweet as a day in 
June, and it breathes freshness and purity in 
every line.” 

French. 75c. 

24. Nothing But the Truth.*—James Mont¬ 
gomery. 

Comedy, 3 acts, 5 males, 6 females, 2 in¬ 
teriors. Time, 2y 2 hours. 

Bob Bennet bets with his business partners 
that he will tell the truth absolutely for 24 
hours. How he did it and the difficulties he had 
to adhere to the truth form a most amusing series 
of predicaments. 

French. 60c. 

25. Ready Money.—James Montgomery. 

Comedy, 3 acts, 14 males, 5 females, 2 interiors. 

Time, 2V 2 hours. 

This sprightly comedy is a most amusing satire 
on the American proverb that “Money makes 
money. ’ ’ 

French. 60c. 


*Certain lines and scenes cannot be recom¬ 
mended. 


[ 54 ] 




Play Catalogue 


26. The G-enius.—Wm. and Cecil de Mille. 
Comedy, 3 acts, 7 males, 6 females, 3 interiors. 

Time, 214 hours. 

Lively comedy which is a broad satire upon 
misguided persons who dote upon art and lionize 
artists. Clever lines, amusing scenes. 

French. 60c. 

27. Brown Mouse.—Mabel Stevenson. 

Bural play, 4 acts, 10 males, 6 females, 3 in¬ 
teriors. Time, 2 hours. 

A plea for better rural schools. 

French. 50c. 

28. The Chinese Puzzle.—Marian Bower and 
Leon M. Lion. 

Play, 4 acts, 9 males, 3 females, 3 interiors. 
Costumes modern and Chinese. Time, 2 X 4 hours. 

A play away from beaten track—the Oriental 
is drawn in a form deserving of admiration. A 
play of intense and gripping interest. 

75c. French. Published also by Baker. 

29. Martha—By the Day.—Julie Lippmann. 
Comedy, 3 acts, 5 males, 5 females, 3 interiors. 

Time, 2*4 hours. 

Full of quaint humor and old-fashioned homely 
sentiment. 

Baker and French. 60c. 

30. The Gypsy Trail.—Bobt. Ilousman. 
Comedy, 3 acts, 1 interior, 1 exterior. Time, 

214 hours. 

The principal character is an adventurous mil¬ 
lionaire in quest of real romance. A combina¬ 
tion of mystery, romance, character and humor. 
Interesting play for amateurs. 

31. The Irresistible Marmaduke. — Ernest 
Denny. 

Comedy, 3 acts, 5 males, 5 females, 2 interiors. 
Time, 2*4 hours. 

An excellent play around the mistaken iden¬ 
tity theme. The hero is the victim in this case; 
he suffers from complete loss of memory and 
really believes himself to be the man whom he 
is impersonating. Very original, highly amusing 
play, the interest sustained through the three 
acts. Other very good character parts. 

French. 75c. 

32. Captain Kidd Jr.—Bida Johnson Young. 
Farcical comedy, 3 acts, 12 males, 3 females, 

I exterior, 1 interior. Time, 2*4 hours. 

The secret of a buried treasure is discovered 
in an old book sold to a second-hand book store 
and deals with the quest of the treasure in Cape 
Cod. 

French. 60c. 


33. In Walked Jimmy.— Minnie Z. Jaffa. 

Comedy, 4 acts, 10 males, 2 females—any num¬ 
ber of characters for clerks, factory-hands, etc. 
Two interiors. Time, 2*4 hours. 

Jimmy walked into a broken-down shoe fac¬ 
tory when the clerks had all been discharged and 
the proprietor contemplating suicide. He put 
the shoe business on its feet, w r on the heart of 
the girl clerk, saved her erring brother from jail 
and foiled the villain. 

French. 60c. 

34. The Little Princess. —Frances Hodgson 
Burnett. 

Play for children and grown-ups. Three in¬ 
teriors. Time, 2 1 4 hours. 

Any number of children. 

Play tolls the well-known story of Sara Crew 
—a charming thing. 

French. 30c. 

35. Penrod. —Dramatized by Edward E. Bose. 

Play in 4 acts, 16 males, 7 females, 1 interior, 

two exteriors. Time, 2*4 hours. 

The play is based on the last series of stories 
by Booth Tarkington in which Penrod figures— 
in which he is an “amateur detective.” It is a 
play primarily for grown-ups. 

French. 75c. 

36. Clarence. —Booth Tarkington. 

Comedy, 4 acts, 5 males, 5 females, 2 interiors. 
Time, 2*4 hours. 

Clarence was one of the five million who 
served in the great war—but got no further than 
Texas. Beduced to civilian life he gets a posi¬ 
tion as an all round man in the home of one 
Wheeler—he mends the plumbing, tunes the 
piano; he types and he plays the saxaphone. 
Around him revolve such a group of characters 
as only Tarkington could offer. A real American 
comedy. Clarence is a veritable delight—a true 
native comedy. 

French. 75c. 

37. The Travelling Salesman. —James Forbes. 

Four acts, all interiors, 12 males, 4 females. 

Time, 2'4 hours. 

A most delightful and successful comedy—a 
capital play in every detail—has an interesting 
plot, lively dialogue, humorous incident. The 
poker game act in the salesman’s room is a 
treat. 

French. 60c. 

38. The Commuters. —James Forbes. 

Comedy, 4 acts, 6 males, 8 females, 1 exterior, 

2 interiors. Time, 2*4 hours. 

A splendid comedy. The depicting of the pet 
hobbies, dilemmas, predicaments and pastimes, 
especially the meeting of the woman’s club, 
and the "misjudged Broadway bachelor, Sammy 


[55] 



Play Catalogue 


Fletcher, who is induced to try rural joys when 
he is in no condition to appreciate the oppor¬ 
tunities of the invitation, furnish fun enough to 
keep the laughs coming with rapidity. The Com¬ 
muters is a merry comedy of suburban life, the 
dialogue is crisp and delightful and the play 
full of funny incident. Sammy Fletcher is a 
particularly good role, for droll comedian. 

French. 50c. 

39. The Piper.—Josephine Preston Peabody. 

Play, 4 acts, 13 males, 6 females; children, any 

number. 

Prize play produced first at Memorial Theatre, 
Stratford-on-Avon. 

French. $1.35. 

40. * 

41 . * 

42. Man from Home.—Booth Tarkington and 
Harry Leon Wilson. 

Delightful, quaint play containing a fine mes¬ 
sage. 

French. $1.25. 

43. A Marriage of Convenience.—Alexander 
Dumas. 

Comedy, 4 acts. Costumes, period Louis XV. 
See under French list. 

44. Little Lord Pauntleroy.—Frances Hodg¬ 
son Burnett. 

Play in 3 acts, 2 interiors. Time, 2^ hours. 
Charming play from the famous story—for 8 
males, 2 females, one boy’s part. 

French. 30c. 

45. Walker, London.—J. M. Barrie. 

Farcical comedy, 5 males, 5 females. One 

houseboat scene. Time, 2 hours. 

46. The Man on the Box.—Grace Livingston 
Furniss. 

Comedy, 3 acts, 11 males, 4 females, 2 inter¬ 
iors. Time, 2^ hours. Adapted from Harold 
McGrath’s novel. 

To play a joke on his sister, Warburton shaves 
off his beard, borrows a suit of livery, bribes the 
coachman and jumps on the box of what he sup¬ 
poses is his sister’s carriage. He gets the wrong 
one, which proves to be that of another young 
woman and the plot revolves around a highly 
amusing mix-up. 

French. 50c. 

47. The Third Degree.—Charles Klein. 

Play in 4 acts, 6 males, 2 females, 3 interiors. 
Time, 2*£ hours. 

A play of gripping interest—is a graphic ex¬ 
position of the third degree methods pursued by 
many police officials in large cities. The story of 


a faithful wife’s tireless search of evidence prov¬ 
ing the suspected man’s innocence. 

French. 50c. 

48. Our Boys. 

Comedy, 3 acts, 6 males, 4 females. Time, 2 
hours. 

French. 25c. 

49. Liberty Hall—R. C. Carton. 

Comedy-drama, 4 acts, 2 interiors, 6 males, 4 

females. 

French. 30c. 

50. The Late Mr. Costello. —Sydney Grundy. 

Farce, 3 acts, 4 males, 5 females, 1 interior. 

Time, 2 hours. 

Captain T. calls on Mrs. B. for the purpose of 
renewing his acquaintance with her daughter 
Avice. He there meets her other daughter, Mrs. 
Costello, a young widow, with whom he promptly 
falls in love. Many amusing situations—will 
prove a success with amateurs. 

French. 30c. 

51. The Romancers. —Rostand. 

Comedy, 3 acts^ 5 males, 1 female, and extra 
male characters. 

Charming and romantic little play. 

French. 

52. Admiral Guinea. —Robt. Louis Stevenson 
and Henley. 

Old-fashioned type of drama in 4 acts—3 
males, 2 females. 

The part of David Pew, the blind beggar, with 
the tap-tap of his cane before his entrance and 
the tap-tap of that wily cane in the darkened 
room, when he comes to steal the treasure, is 
thrilling. 

In three plays—Stevenson and Henley, Chas. 
Scribner. 

53. The Big Idea. —A. E. Thomas and Clay¬ 
ton Hamilton. 

Three acts, 2 interiors, 7 males, 4 females. 
Plays full evening. An unusual play by two 
masters of stagecraft. 

Devoted son of a father who is about to be¬ 
come insolvent, is planning to commit suicide so 
that his father may have the benefit of his in¬ 
surance, when a girl comes on the scene and gets 
the boy interested in writing a play. He writes 
his own story and temptation of suicide, with 
dramatic results. Not too difficult for sincere, 
earnest actors to produce with good effect. 

French. 60c. 

54. Hurry, Hurry, Hurry. —Le Roy Arnold. 

Comedy, 3 acts, 5 males, 4 females, 1 interior. 
Time, 2 1 ,4 hours. 

According to the will of an eccentric aunt, her 
pretty niece must be affianced before she is 


[56] 


* Censored. 




Play Catalogue 


twenty-one and married to her fiance within the 
year. The girl’s father, failing to tell daughter 
of will, hopes she will make her choice untram¬ 
meled by any other motive but true love. The 
action all takes place in the evening and the 
midnight of which will be her twenty-first birth¬ 
day. The action moves with a snap such as 
should be expected from its title. 

French. 30c. Royalty. 


PLAYS PUBLISHED BY BAKER 

55. And Billy Disappeared. —W. B. Hare. 

Comedy, 4 acts, 5 males, 6 females, 1 interior. 

Time, 2*4 hours. 

Mr. Billy, aviator, in the late war, now in the 
secret service in the pursuit of a notorious crook, 
Getaway Belle, runs into the trail of Mary Blake, 
the girl he loves. A mystery play with lots of 
comedy and good, even opportunity for a whole 
cast. 

(50c. Royalty, $10. 

56. Bachelor Hall. —R. E. and R. M. Baker. 

Comedy, 3 acts, 8 males, 4 females, 1 interior. 

Plays full evening. 

Hon. Geoffrey Middleton has loaned his house 
for the amateur production of the Fatal Shot, on 
condition that no publicity be given to it. A 
parcel containing some bonds gets mixed up with 
a parcel for “props” and all goes wrong that 
evening. A lively mix-up full of action and 
fun—all good parts. 

35c. Royalty, $5. 

57. The Conjurer. —M. Scott. 

Dramatic mystery. Three acts. Very clever, 
unusual play full of absorbing interest for any 
audience. Eight males, 4 females. Two easy 
interiors. Plays full evening. Royalty $10 for 
first and $5 each for subsequent performances. 

Clifford, as a clever conjuror, is employed by 
Inspector Steele of the United States Secret Ser¬ 
vice in a plan to detect certain foreign spies. 
The plan goes wrong and involves seven persons 
in suspicion of a serious crime. Clifford’s clever 
unravelling of this tangled skein constitutes the 
thrilling plot of the play. The scientific seance 
is a very original device in one act. All the 
parts are good and it is a play that will be 
found very satisfactory. 35c. 


society. An easy, amusing and popular comedy. 
Lady Helen must be a very handsome and clever 
actress. 60c. Royalty, $5. 

59. Summer Boarders or The Great Jewel 
Mystery. —A play full of character parts by 
J. V. T. Bruorton. 

Comedy drama, 4 acts, 8 males, 7 females, 1 
interior, 1 exterior. Plays full evening. 25c. 

60. Liberty Corners. —A. E. Wills. 

Drama, 4 acts, 12 males, 5 females—can be 
doubled and played 10 male parts. Two easy 
interiors and 1 exterior. A play full of stirring 
interest ; the cast offers a great variety of strong 
parts with lots of comedy. Plays a full evening. 

The part of Betty, good soubrette lead. Con¬ 
tains a very original love scene. Excellent play 
for parish dramatics or a large club, as a large 
cast of extras are required for a “dance,” a 
picnic and an election. These scenes can be 
made very effective, and this play is highly rec¬ 
ommended. 35c. 


DENISON PUBLICATIONS 

61. A Cabin Courtship. —See under Tennessee- 
American list. 

62. Civil Service.— W. B. Hare. 

Drama, 3 acts, 6 males, 5 females, all strong 
character parts. Old man, character lead. Lead¬ 
ing lady is only straight character. Scene, a 
country post office. One scene throughout. 

Steven, the rather weak “hero,” falls in love 
with the belle of the town and in order to buy 
her presents uses all his salary only to find out 
that she is engaged to another man. Some 
money is stolen from a letter and the suspicion 
falls on Steve, and the old man, a rural route 
delivery man, takes the crime upon himself in 
a very touching and dramatic scene, confessing 
that he had served 15 years in jail in his youth 
for stealing twenty dollars out of the mail. 
Kate, the stamp clerk, who saves Steve and the 
old man from paying the penalty, is a delightful 
character. All parts good. Country boy good 
comedy part. 35c. 


58. The Other Fellow.— M. B. Horne. 63. For the Love of Johnny.— Harry Hamil- 

Comedy, 3 acts. Good “society” play. Six ton. 
males, 4 females. Two easy interiors. Three acts, 6 males, 3 females. One interior, 

A group of gentlemen bind themselves, in case 1 exterior. 1 ime- -*^4- hours, 
anv of them fall in love, to submit the matter A play of life in the southwest. See under 

to the verdict of his fellows as to whether or Plays of New Mexico. Has an appealing char- 

not he may propose. Almost instantly the fun acter in Father Ryan, the priest, who is the hero 

begins ami ends with the breaking up of the of the piece. 50c. 

[57] 




Play Catalogue 


64. Mary’s Millions. —F. G. Johnson. 

Comedy in 3 acts for 5 males, 6 females. One 

interior, 1 exterior. Time—2*4 hours. 

A quiet New England village is all agog over 
the arrival of a pair of fortune hunters, claim¬ 
ing to be titled foreigners, who scheme to get 
possession of Mary’s millions. It is a clash be¬ 
tween rugged honesty and crafty sophistication 
all through the play, with characters that are 
clear cut and well contrasted. Royalty, $15. 
Price, 50c. 

65. Suppressed Desires. —Susan Glasbell and 
Geo. Cram Cook. (See Short plays.) 

66. Seventeen.— Booth Tarkington. 

The youth of ‘ ‘ Seventeen ’ ’ has the lead. The 
story of his illusions and his disappointment 
quaintly portrayed and the curtain goes down 
with his head on his mother’s shoulder—his un¬ 
failing friend. A mirror-like glimpse of “young 
people’’ in a homely town of the middle west. 
Wholesome, refreshing, and with the true human 
touch that marks all of Booth Tarkington’s 
work. The “young people’’ have the principal 
parts and Jane 1’enfant terrible of twelve. 

Stewart & Kidd. (Royalty.) 

67. The Watcher at the Gate.— Wm. Rader 
and M. Bradley. (Care the Joyce Kilmer play¬ 
ers, Chicago.) 

A play with spiritism as its theme with an 
expose of some of the faking of spiritualists. 

68. Parlor Matches. —W. B. Hare. 

An engaging play of society in two acts for 
4 males and 5 females. One interior. Time—1 % 
hours. Good. 

A moving picture man “a professional hero,’’ 
who does not want any real love affair, walks 
right into one and is engaged before he can 
wink. Not the usual contre temps in this play— 
quite refreshing and original. 

Denison. 25c. 

69. Gods of the Mountain. —Dunsany. 

Three acts, 10 males. Costumes. 

The settings and the lighting give opportuni¬ 
ties for fine spectacular effects. (French & Co., 
agents). 

70. Contrary Mary. —Edith Mills. 

A high class comedy in 3 acts for 7 males and 
3 females. 

French. 35c. 

See Farces. 

See Plays for young people. 

See Irish list of plays. 

* 


DRAMA—Easy 

1. The Professor’s Daughter.—Anne Bunner. 

Comedy in 3 acts for 3 males, 4 females. Two 

interiors. Plays 2 hours. 

A most successful comedy, one that plays 
itself. Can be recommended to amateurs of all 
ages. Jerry, who has engaged himself at an 
early age to a pretty girl, gets remorse of con¬ 
science and writes to the girl that he is return¬ 
ing to marry her. He tells his chum of his plan 
and is persuaded to appear on the scene in a 
different character than his own. The girl in 
the small town gets the same idea and poses as 
a typical professor’s daughter is supposed to be 
—prim, dignified and dressed like a small town 
frump. The situation works out in an amusing 
and surprising way. 

French. 30c. 

2. Strange Adventures of Miss Brown.—(See 
under Farces; French). 

3. The Private Secretary. 

Farce in 3\ acts. Nine males, 4 females. 
Time—2 y 2 hours. 

French. 30c. 

4. June.—Marie Doran. 

Comedy-drama for 4 males, 8 females. Time— 
M/4 hours. One interior. 

This play has an interesting group of young 
people. June is an appealing little figure, an 
orphan living with her aunt. Several opportuni¬ 
ties to work up good character parts. Musical 
numbers may be added if desired. Good little 
play and not difficult to produce. 

French. 30c. 

5. A Pair of Spectacles. 

Comedy in 3 acts for 8 males, 3 females. In¬ 
terior scene. Time—2 1 / 4 hours. 

Goldfinch breaks his spectacles and borrows 
his brother Gregory’s, who comes to visit him 
from Yorkshire. He then, at the instigation of 
Gregory, sees everything in a bitter light and 
suspects everyone. His confidence is restored 
when his spectacles are mended. 

(Sydney Grundy) French. 30c. 


Baker Publications 

6. The Heiress Hunters.—W. B. Hare. 

Comedy in 3 acts for 7 males, 7 females. Two 
interiors and an exterior. Time—2 hours, 20 
minutes. 

The three leads arc an artist, musician and an 
author and these three compete for the affections 
of a damsel, while they are starving in a New 
York attic. All the parts are good. 35c. 


[58] 


* Sec addenda. 




Play Catalogue 


7. The Best Man. —H. Hale. 

Comedy in 2 acts; 3 males, 4 females. One 
interior. Time— l 1 /^ hours. 25c. 

8. Jack o’ Hearts. —F. M. Burrows. 

Comedy in 3 acts for 4 males, 4 females. One 

interior. Time—1 % hours. 

John Ames, a young minister friend of Polly’s 
brother, is mistaken for an expected relative. 
Amusing consequences follow. Opportunity for 
dressing in quaint costumes—Priscilla and John 
Alden, for some tableaux within the play. 

9. Alias Brown. —E. J. Whisler. 

Farce in 3 acts; 11 males, 5 females. Two in¬ 
teriors. Plays two hours and is a play which 
cleverly hits off the divorce mill. 35c. 

10. An Engaging Position. —L. E. MacBrayne. 
Comedy in 2 acts; 3 males, 3 females. Two 

easy interiors. Plays 1 hour. 

Concerns a young society man who becomes 
engaged to three young ladies at the same time. 
25c. 

11. Engaged by Wednesday. —G. A. Owen. 
Five males, 11 females. Very easy. 35c. 

12. A Model Lover. —E. B. Tiffany. 

Comedy in two acts; 3 males, 3 females. Scene 

an artist studio. Time—l 1 ^ hours. Very easy. 
25c. 

13. Auction at Meadowville. 

Quaint little play. Several ladies. One male, 
(the auctioneer). 

14. Singing School of Ye Ancient Time.— M. 
B. Horne. 

As quaint and “old fashioned” as could be 
desired. 25c. 

15. The Old Peabody Pew. —(See under Plays 
for ladies—also Entertainments). 

Several ladies and one man. 

French & Co. 

16. The Empty House. —Lindsey Barbee. 
Comedy-drama in 3 acts and epilogue. Six 

males, 8 females. Two interiors. Time—2y 2 
hours. 

The sight of strange lights in an empty house 
next door, gives a young playwright the idea 
for a plot. He is about to outline the story for 
his family, when things happen and happen fast 
—a net of exciting complications which grow 
more and more mysterious and as you think the 
play is over, back you go to the point where 
Tom started to outline his plot—and it is the 
storv of his play acted out before your eyes. 
Also a self acting play, though the characters 
are seemingly difficult. With good united re¬ 
hearsals the play will not be too difficult for 
beginners. Denison. 35c. 


17. The Lady of the Library.—Edith Painton. 
Comedy-drama of village life in 3 acts; 5 

males, 10 females. Scene, reading room of a 
public library. Time-^-2 hours. 

A play with a unique heroine—a woman over 
60. Several good character parts, a movie 
actress, a janitor and newlyweds. 

Denison. 35c. 

18. An Old Fashioned Mother.—W. B. Hare. 

Three acts, for 6 males and 6 females, also the 
village choir, etc. One scene—a sitting room. 
Time—2*4 hours. 

A rural “sympathetic” drama with the old 
mother the lead—the elder brother is proud and 
selfish and the younger a profligate. 

Denison. 35c. 

19. Hearts and Clubs.—Amy E. Blanchard. 

Three males, 7 females. Time—1 hour, 15 

minutes. Scenes easily set—one scene affords 
opportunities to wear Grecian costume. 

Old Mr. Fossil’s hobby is dress reform for 
women. He is opposed to the marriage of his 
nephew Tom, but meets the young lady when she 
is in Grecian costume and is won over before he 
knows who she is. 

Penn. 25c. 

See plays for Young People. 

See Farces.* 


EDUCATIONAL PLAYS 

See Bird Plays—(Woodland). 

See Children ’s Plays. 

See Humane Plays (teaching kindness to ani¬ 
mals). 

National Plays. 

Foreign Language Plays (to be found under 
name of nation). 

Religious Plays. 

Better Speech Drama. 


EGYPTIAN—(Theme or Setting) 

Anthony and Cleopatra.—Shakespeare. 

Caesar and Cleopatra.—Bernard Shaw. 

The Queen’s Enemies.—Dunsany. 

Nine males, 2 females. 

An Egyptian queen overcomes her enemies by 
inviting them to a banquet in a chamber under 
the Nile. At her signal the flood gates are 
opened and the entire party drowns. Tragedy 
with chance for splendid scenic effects. 

Luce & Co. 


* See addenda. 


[ 59 ] 




Play Catalogue 


ENGLISH PLAYS 
Old English 

1. Everyman. —(See Morality Plays). 

The original text of the old morality play has 
been preserved as far as possible in this acting 
version. 

2. The Sad Shepherd. —Ben Johnson. 

E. P. Dutton. 

3. Gammer Gurton’s Needle. —(See Portman¬ 
teau Adaptations). 

Stewart & Kidd. 

See Old Classics and Revivals. 


4. The Falcon. —Tennyson. 

In Tennyson’s Collected Plays. 

5. The Princess. —(See Outdoor Drama). 

See Historical Plays. 

See Shaw, Wilde, Pinero, Masefield, Jerome, 
Davies, Barker, Chesterton, Housman, Hope and 
Milne. 

See Shakespeare under separate heading. 

6. Scenes from the Life of Sir Thomas More. 

—Sister Mary Berchmans. 

Four scenes; 4 males, 5 females. Costumes of 
the time of Henry VIII. History well done in 
dialogue form. 

The Talbot Press, Dublin. 

Lorna Doone. —(Adapted by Rev. P. Kaender). 
A romantic drama in four acts from Black- 
more’s story. 

B. Herder. 25c. 

8. See Dickens under separate heading. 

9. The Primrose Path. 

Period 1588. See list of short plays. 

10. King Arthur. —Comyns Carr. 

Lancashire Catholic Players, care Mrs. F. E. 

Doran, Secy., 46 Carrill Drive, Fallowfield, Man¬ 
chester, England. 


ENTERTAINMENTS 

Special note: 

Entertainments: Many of the features listed 
under this heading are little plays and arc more 
suited to beginners, more satisfactory and more 
enjoyable to an audience than more ambitious 
offerings. 

Entertainments calling for a large number of 
characters, suitable for parishes, K. of C. enter¬ 
tainments, sodalities, etc. 


1. Producing Amateur Entertainments. — 

Helen Ferris. 

A most complete, satisfactory and long needed 
book of helpful material for “the lighter mo¬ 
ments.’’ The various chapters contain stage 
stunts, musical numbers, song specialties, featur¬ 
ing organization activities; publicity; putting 
the program on and over; dress rehearsal and 
final performance. Illustrated with numerous 
photographs of program, plans and directions. 

E. P. Dutton. $2.00 

2. The Old Peabody Pew.—Kate Douglas 
Wiggin. 

One scene—the interior of a church. Time— 
1*4 hours. A good entertainment for school or 
church use. See One-act plays. 

French. 35c. 

3. Before the Rummage Sale.—G. S. Shep¬ 
hard. 

For 14 or more female characters. See Plays 
for ladies. 

The action x takes place on the afternoon 
previous to the rummage sale, in the lecture room 
of a church, where the women are preparing for 
a sale and the young people for an entertain¬ 
ment of their own the same evening, and the 
interest centers about the common succumbing 
to temptation to and the frustration of the 
efforts of each in turn to secure a $10 gold piece 
placed inadvertently in the pocket of a coat do¬ 
nated to the sale. 

4. High Brown Breach of Promise.—Sheldon 

Parmer. 

Absurdity for 16 or 22 males. Time—1 hour. 
Scene, a court room. 

Ludicrous negro mock trial introducing spe¬ 
cialties. Can be produced anywhere. No scenery 
or curtains necessary. All parts short—requires 
only a few rehearsals. 

Denison. 30c. 

5. Bargain Day at Bloomstein’s.—Edward 
Mumford. 

A farcical entertainment in one act. See 
Farces. 

6. At the Movies.—Harold B. Allen and Jo¬ 
seph Upper. 

A farcical novelty in one act. Two males, 3 
females. One interior. See Farces. 

7. The Buttermilk Hollow Surprise Party.— 

Frank I. Hanson. 

Entertainment in 1 scene for 12 males and 12 
females. Costumes, rustic and eccentric. Scen¬ 
ery unimportant. 

This is a funny entertainment in which all 
kinds of recitations, songs and specialties can be 
introduced. Very easy to get up. 

French. 


[ 60 ] 




Play Catalogue 


8. Friday Afternoon at a Village School.— 

Mrs. Amelia Weed Holbrook. 

Six males, 10 females. The scene is laid in 
the village school and all the characters can be 
taken by adults. 

French. 

9. Mrs. Jarley’s Far-Famed Waxworks.—See 
Dieken’s Plays. 

10. The Carnival of Authors. 

Containing full directions for producing this 
entertainment in all its details of organization, 
with description of the main stage, the eight 
booths, the grand entree, the fan drill, the 
minuet, and over 112 scenes from the works of 
the principal authors of the world. All of 
which can be used separately or together for hall 
or parlor performances. 

French. 25c. 

11. The Wonderful Doctor. 

A dialogue for 10, 15 or 20 boys. The doctor 
is a fluent speaker and pretends to cause a short 
leg to become longer, the hair to grow, etc. The 
mustaches start to grow and won’t, stop and this 
complicates matters and brings on an uproarious 
climax. 

Penn. 25c. 

12. Sewing for the Heathen.—Walter Ben 
Hare. (See Plays for Ladies). 

Denison. 25c. 

13. The Pikeville Centennial.—Willis N. Bug- 
bee. 

Comic entertainment in two acts; 16 males, 12 
females. Scene, 1 exterior. Time—1*4 hours. 
Rural comedy with chances for specialties. 

Denison. 25c. 

14. The Rag-Carpet Bee.—(See Plays for 
Ladies.) 

Entertainment in one act. 

15. The Fun Revue.—Frederick G. Johnson. 

For 30 to 100 men and girls. Has many short 

parts, giving chances for numerous individual 
hits, and no star parts except as performers 
make them so. Not a serious moment in it. The 
average theatre has the necessary stock scenery 
—wood and palace sets, street drop, etc. Book 
contains detailed instructions for staging and 
suggestions on choosing musical numbers. No 
songs are included—choice being left to pro¬ 
ducers. 

Denison. 

16. Aboard a Slow Train in Mizzoury.—W. B. 
Hare. 

A farcical entertainment in three acts for 8 
males, 14 females and supers. Scene—the in¬ 
terior of a passenger car. Plays a full evening. 
All the parts good. Baker. 35c. 


18. Aunt Jerusha’s Quilting Party. —L. M. 

Parsons. 

One scene. Four males, 12 females. Scenery 
unimportant. Costumes eccentric. Introduces 
songs and specialties and plays from one hour 
upward. 

Baker. 25c. 

19. The Beantown Choir.- —W. B. Hare. 
Farcical entertainment in 3 acts for 2 men and 

10 women; male and female quartette and two 
men for tableaux. Scenery, unimportant. Plays 
a full evening. 

The widow Wood’s project to honor the mem¬ 
ory of the former choir director and to marry 
the minister both come to grief after a series 
of funny adventures. Introducing solo and con¬ 
certed music and specialties. 

Baker. 35c. 

20. Our Church Fair. —J. A. Kelley. 

Two acts, 12 females. Scenery unnecessary. 
Plays—l 1 /^ hours. Full of local hits. 

Baker. 25c. 

21. The Packing of the Home Missionary 
Barrel.— Mrs. H. A. Halloek. 

One scene. Ten females. Scenery unim¬ 
portant. Plays 30 minutes. 

Baker. 25c. 

22. Le Faker’s Youth Restorer. —May Brown. 

See Farces. 

23. The Country School. —M. R. Orne. 

Two scenes. For any number of characters, 
male or female. Scenery simple. Time about 40 
minutes. Grown folks, the older and more digni¬ 
fied the better, take the parts of the pupils. 
Baker. 25c. 

24. The District School at Blueberry Cor¬ 
ners. —L. M. Parsons. 

Humorous—in three scenes; 12 males and 7 
females, of whom some may be omitted. Cos¬ 
tumes, old fashioned. Scenery unimportant. 
Plays one hour. 

Baker. 25c. 

25. The Emigrants’ Party. —J. A. Kelley. 

One act, 24 males, 10 females. Scene, the 

deck of a ship (unimportant). Costumes of all 
nations. Plays one hour or more. Introduces 
folk-songs and dances. 

Baker. 25c. 

26. Fun in a Theatrical Office. —M. K. 

Thompson. 

One scene, an interior; 7 males, 16 females, 
and children. Costumes, fancy. Plays 2)4 hours. 

A vaudeville entertainment complete, giving a 
full program of specialties. 

Baker. 25c. 


[ 61 ] 



Play Catalogue 


27. Fun on the Bingville Branch.— J. A. Kel¬ 
ley. 

One scene (unimportant). Seventeen males, 
18 females. Plays about 1 hour. 

A presentation of the humors of railway 
travel, full of chances for local hits. 

Baker. 25c. 

28. The Grand Baby Show. —The Sisters of 
Mercy, Meriden, Conn. 

Entertainment in one scene. One boy and 
from 10 to 25 little girls. No scenery necessary. 
Costumes easily arranged. Printed with the 
original music complete. Plays 30 minutes. 

Baker. 25c. 

29. The Old Fashioned Husking Bee. —N. H. 
Pelman. 

One scene. Eleven males, 5 females—more if 
desired. Scene, the interior of a barn. Plays 
40 minutes or more. Very easy and funny. 

Baker. 25c. 

30. The Peak Sisters. —M. B. Horne. 

One act, 7 females. No scenery. Plays one 
hour. Songs and recitations may be introduced 
into this entertainment to an unlimited extent. 

Baker. 25c. 

31. The Pedler’s Parade. —J. A. Kelley. 

One scene; 21 males, 15 females, or more if 
desired—or may be given by all men or all 
women. Introduces all kinds of peddlers in 
songs, dances, recitations and specialties and 
leading up to a sale. 

Baker. 25c. 

32. The Rag Doll Party. —G. F. Sturgis. 

One act; 4 males, 10 females. Costumes ec¬ 
centric. Scenery unimportant. Plays 45 min¬ 
utes. The characters are all rag dolls and chil¬ 
dren impersonated by adults. Specialties may 
be introduced. 

Baker. 25c. 

33. The Revel of the Year. —J. A. Kelley. 

One act; 22 characters, more or less, male or 

female. Scenery unnecessary. Costumes, fancy. 
Plays 45 minutes. Intended to be used with a 
sale or fair. 

Baker. 25c. 

34. The Rival Choirs. —S. F. Johnson. 

One scene; 7 males, 4 females. Scene, an easy 
interior. Costumes rustic. Plays 1 hour. A mu¬ 
sical novelty introducing a double quartette. 

Baker. 25c. 

35. Scenes and Songs of Ye Olden Time.—L. 
M. Parsons. 

Several scenes. For a large number of persons 
of both sexes. Costumes old fashioned. Scenery 


unimportant. Consists of dances, tableaux, 
songs, drills and a descriptive reading. 

Baker. 25c. 

In Music Land.—Alice W. Brockett. 

Musical entertainment in one scene—any 
number of characters. Costumes not difficult. 
Scene, an exterior. Plays 45 minutes. 

It presents in dramatic form some of the 
problems and musical characters met with in 
primary grades. However, older children may 
take the more difficult parts. Suitable for studio 
recitals as well as for schools—easy to learn. 

Baker. 25c. 

36. All Visitors Ashore.—Ward Macauley. 

One scene; 13 males, 16 females—several 

parts may be doubled. Scene, exterior. Cos¬ 
tumes modern. Time—45 minutes. 

The front half of the stage represents a dock. 
The back half, a raised platform, is supposed to 
be the lower deck of an excursion boat—very 
simple to set. Mary’s lover, Joe, will not pro¬ 
pose, so Mark’s friend, Clara, lays a plot to 
make him. “All visitors ashore.” Joe is car¬ 
ried off with the girls, and Clara is satisfied. 

37. Waiting for the Trolley.—Edward Mum- 
ford. 

Farce in one act; 7 males, 8 females, and 
supers—some parts may be doubled. Interior 
scene—or may be played without scenery. Cos¬ 
tumes modern. Time—1 hour. 

Humorous happenings of a rural waiting-room, 
the eloping couple, the irate father, two lunch 
counter attendants, the suffragette, Hans, Hi¬ 
ram, Miss Sharp, etc. 

Penn. 25c. 

38. Newsy Wins.—Eunice G. Hussey. 

One scene; 6 males, 9 females. Costumes mod¬ 
ern and eccentric. Scene, an interior. Time— 
about 50 minutes. 

Miss Novel Eettc, locked in the library, wit¬ 
nesses the trial of The Newspaper. The Diction¬ 
ary is Judge. Other specialties introduced. A 
burlesque on current fads in reading. 

Penn. 25c. 

39. The Corner Drug Store.—Harry L. New¬ 
ton. 

Musical comedy in 1 act; 17 males, 14 females. 
Scene supposed to show the interior of a drug 
store and is easily set. Time—1 hour. 

Denison. 30c. 

40. The Light Brigade.—May me Riddle Bit- 
nev. 

Comedy for 10 females. Time—40 minutes. 

Ma Light and her talented family give a show. 
Songs, recitations, speeches, etc.—any number of 
specialties may be introduced. 

Denison. 25c. 


[ 62 ] 



Play Catalogue 


41. The Village Photographer.—Arthur L. 
Rice. 

Novelty entertainment; 14 adults, 7 females, 
and 4 children. Scene, photograph studio. Time 
—4 5 minutes. Well known “rural” types, 
crusty old bachelor, town loafer, stage struck 
girl, etc. Easily produced. 

Denison. 30c. 

42. Fun on the Podunk Limited.—Mayme 
Riddle Bitney. 

Nine males, 14 females. Time—1 % hours. 
Interior of railway coach. Easily set. Can be 
played by less if desired. Many character parts. 

Denison. 30c. 

43. The Rocky Ridge Vaudeville Show.— 

Willis N. Bugbee. 

Any number of characters. Time—a full eve¬ 
ning. Eight complete vaudeville acts. 

Denison. 25c. 

44. The Rummage Sale.—Jessie A. Kelley. 

Four males, 10 females. Time—50 minutes. 

An aid society, to raise money, has a sale of 

their discarded clothes. The scheme proves to 
be more humorous than profitable. Character 
parts—Jewish, Irish, Italian, etc. Easy to 
produce. 

Denison. 25c. 

45. Jayville Junction.—Harry L. Newton. 

Fourteen males, 17 females. Time— l 1 /* hours. 

Interior of any railroad depot—-easily set. Can 
be played with a smaller cast if desired. 

Denison. 25c. 

46. The Old Songs.—Caroline Fuller. 

Musical sketch in one act; 13 males, 10 fe¬ 
males—less if desired. Time—50 minutes. Sim¬ 
ple interior. Costumes modern and old fashioned. 

A young composer of popular music falls 
asleep and is visited by the “Old Songs,’ popu¬ 
lar years ago. 

Penn. 25c. 

47. The Sightseeing Car. 

Comedv sketch; 7 males, 2 females—or all 
males. .Street scene. Time—45 minutes. Very 
funny. 

48. The Scientific County School.—Louise 
Latham Wilson. 

Farcical. One act; 18 males, 15 females. Time 

_li/, hours. Suitable for school or church use. 

Requires ordinary dress, no scenery, very little 
acting and can be made to suit any locality and 
any number of actors. 

Penn. 25c. 


49. Six Rehearseless Entertainments. —Alice 
W. Chaplin. 

All of these entertainments have been pro¬ 
duced without full rehearsals and have been 
planned for people who have not much time to 
give to rehearsals. The following are the sub¬ 
ject titles: Around the World in Bed, The 
Bachelor’s Dream, Kitchen Orchestra and Semi- 
Minstrel Show, School Days, The Professor’s 
Magic, Father Time’s Art Gallery, All Ashore, 
Freak Quadrille, Mock Trial. 

Baker. 40e. 

50. The Comical Country Cousins. —Lieut. 

Beale Cormack. 

Humorous. In one act; 12 female characters— 
more if desired. No scenery required. Funny 
entrances made through the audience. All parts 
good, with many opportunities for additional 
specialties. Plays—H/i hours. 

Baker. 25c. 

51. Merry Moneymakers. 

Seven entertainments calling for a large num¬ 
ber of characters in order to employ the services 
of as many children as possible. 

Baker. 35c. 

52. Miss Prim’s Kindergarten—a School of 
Today. —J. A. Kelley. 

One scene. Ten males, 11 females. No scen¬ 
ery or curtain needed. Costumes, burlesque— 
introducing grownups dressed as children. Plays 
— IV 2 hours. 

Baker. 25c. 

53. Scenes In a Restaurant. —J. A. Kelley. 

One act; 15 males, 10 females. Scenery, 1 in¬ 
terior. Plays 1 hour. 

Shows the funny things that might happen in 
a restaurant. 

Baker. 25c. 

54. Scenes in the Union Depot. —L. M. Par¬ 
sons. 

One scene; 24 males, 8 females, 8 children. 
Scenery unimportant. Plays from 1 hour up. 
Full of opportunities for specialties and local 
hits. 

Baker. 25c. 

55. A Singing School of Ye Olden Time.—M. 

B. Horne. 

One scene. Any number of characters, male 
and female. Scenery unimportant. Costumes 
old fashioned. A very pretty little musical act. 

Baker. 25c. 

56. The Village Postoffice. —J. A. Kelley. 

One scene; 22 males, 20 females, or less if de¬ 
sired. Scenery easy. Costumes, rural. Plays 
a full evening. 

Baker. 35c. 


[ 63 ] 



Play Catalogue 


57. Wagner at the Smallville Woman’s Club. 

—I. B. Cole. 

One scene; 19 females. Scenery unimportant. 
Plays 15 minutes. 

A satire of woman’s clubs and recommended 
for their use. 

Baker. 25c. 

58. The Summerville Bazaar.—F. Towslee. 
One act; 21 males, 31 females—many of the 

parts may be doubled. No scenery required. 
Plays one hour with specialties. 

A humorous picture of a* church fair ending 
with an auction, which may be a real one if de¬ 
sired. 

Baker. 25c. 

59. On the Stairway of Life.—Mrs. H. A. 
Williams. 

A charming entertainment in one act. The 
successive drama of life from babyhood to old 
age is enacted on “the stairway of life” and 
passes in review as Father Time measures the 
fleeting steps. Adapted for schools and set¬ 
tlement houses. French. 

60. Christmas Plays.—Mari R. Heufer. 
Pantomimes, etc. See under Christmas list. 

Especially adapted for foreign settlements, etc. 

See Christmas list for Christmas entertain¬ 
ments, Patriotic list, Kindness to animals, etc., 
etc. 

61. How the Ladies Earned Their Dollar.— 

O. W. Gleason. 

Thirteen females. Characteristic costumes. 
A simple interior or a bare platform. Time—15 
minutes. Funny burlesque of that popular in¬ 
stitution, the Ladies’ Benevolent Society. 
Baker. 25c. 

62. Any-Day Entertainments.—Lettie C. Van 
Dever. 

Collection of monologues, dialogues, one act 
sketches, etc., for all kinds of entertainment. 
Containing new and distinctive features. 

Baker. 40c. 

63. The Snow Cap Sisters.—Ruth McEnery 
Stuart. 

Mother Snow and her twelve freak daughters 
give a very laughable exhibition. 

Baker. 25c. 

* 

FANTASY 

1. Behind a Watteau Picture.—R. E. Rogers. 
Verse—one act. Plays 1 hour. Scene, a gar¬ 
den. Costumes, Watteau. Six males, 2 females, 
supers. 

Royalty, $10 for each performance by ama¬ 
teurs. Baker. 


2. The Rose and the Ring. —Adapted by J. G. 
Greenough from Thackeray’s Christmas Panto¬ 
mime. 

Extravaganza, 4 acts. Plays 1% hours. Scen¬ 
ery, 1 interior, 2 exteriors. Costumes, fantastic. 

Sixteen males, 5 females. Baker. 

3. I Grant You Three Wishes.— Gladys Ruth 
Bridgham. 

See Girls’ Plays. 

One act—40 minutes. Any number of girls 
from 4 to 14. 

Baker. 25c. 

4. The Pierrot of the Minute.— E. Dawson. 

One act. Plays 30 minutes. Scene, an ex¬ 
terior. Costumes, fantastic. One male, 1 female. 

Baker. 25c. 

5. The Gate of Wishes.— In Short Plays by 
Mary McMillan. 

One act fantasy. Out of doors. Prose and 
verse. Time, one-half hour. One girl, 1 man— 
singing voices of fairies. 

Stewart, Kidd. 

6. Six Who Pass While the Lentils Boil.— 

Stuart Walker. 

The scene is in a kitchen in the period of 
when you will. The characters are: The Boy, 
Queen, Mime, Milkmaid, Blindman, Ballad- 
Singer, Dreadful Horseman, You. 

Stewart Kidd. 50c. 

7. Rainbow Gold. —Daniel A. Lord, S. J. 

A most delightful little play of the search for 
gold at the rainbow’s end. 

8. Hearts-To-Mend. —H. A. Overstreet. 

One act. Two males, 1 female 

Pierrot has lost his song, and incidentally his 
love for Pierette. The Hearts-To-Mend Man 
enters and shows Pierrot that constancy and 
happiness go hand in hand. 

9. Aria Da Capo. —Edna St. Vincent Millay. 

Stewart and Kidd. 

10. Harlequinade. — Granville Barker and 
Dion Calthorpe. 

An ingenious fantasy with a tendency to hit 
modern commercial drama. 

Little, Brown & Co. 

11. Lima Beans. 

A rhythmic play. See Rhythmic plays. 

12. The Wonder Hat. 

A harlequinade. See one act plays. 

13. The Heart of a Clown.—C. Powell Ander¬ 
son. 

An autumn fantasy. Two males, 2 females. 

Baker. 50c. 


* See addenda. 


[ 64 ] 



Play Catalogue 


14. Bal Masque.—Oliphant Down. 

One male, 1 female. 

The above two plays are in Baker’s Repertory 
Series. 

15. Bird’s Nest.—Tracy Mygatt. 

Fantasy. One act. Three males, 1 female. 
Time, 45 minutes. Scene, the garden outside of 
a cottage—all good parts; need for subtle work. 
Whimsical and dreamy. Incidental music and a 
Minuet introduced. 

Baker. 35c. Royalty, $5. 


FARCES 

1. Polite Farces.—Arnold Bennet. 

Including two clever and interesting plays: 

The Step-Mother, for 2 males, 1 female, and A 
Good Woman, for 3 males, 1 female. 

Doran & Co. 

2. A Little Fowl Play.—Harold Owen. 

Two males, 3 females. One interior. Plays 
30 minutes. Can be acted by amateurs of all 
ages. 

French. 30c. 

3. P’s and Q’s.—Annie Meyer. 

Two males, 3 females. Time, 30 mintues. 

Play is based on assumption that character 
can be told by handwriting. Very popular play. 

French. 30c. 

4. Pa’s New Housekeeper.—C. S. Bird. 

One act. Three males, 2 females. One simple 
interior. Time, 1 hour. Farce of “Charley’s 
Aunt’’ order. Jack Brown makes up in the 
character of the new housekeeper, who is ex¬ 
pected, but does not arrive. 

Baker. 25c. 

5. Per Telephone.—M. Montgomery. 

One act. Two males, 3 females. A simple in¬ 
terior. An amusing exposition of the perils of 
courtship by telephone. Plays 40 minutes. 

French. 

6. The Work-House Ward.—Lady Gregory. 

See Irish plays. 

French. 30c. 

7. Bunk.—Burlesque melodrama. 

One act. Six men and 1 female. Plays 20 
minutes. 

French. 30c. 

g “Q”.— By Stephen Leacock and Basil 

Hastings. 

French. 30c. 


9. The Arctic Explorers. —Edwin Bateman 
Morris. 

A North Pole farce in two acts. Eight males, 
3 females. Time, 1 !/> hours. Costumes modern, 
with a few burlesques. One interior, 1 exterior. 

Two Hebrew architects discover the North 
Pole, have it stolen from them, but find a way 
to turn it into money. 

Penn. 25c. 

10. The New Boy. —See Drama list. 

Good farce. Three acts. 

French. 

11. Mr. Friend from India. —See Drama list. 
Good farce. 

French. 

12. Robina in Search of a Husband. —See 
Drama list. 

Good farce. 

French. 

13. Man from Mexico. —See Drama list. 

Good farce. 

French. 

14. The Electric Man. —See One act plays. 
Good farce. 

French. 

15. Stop Thief. —See Drama list. 

Good farce. Three acts. 

French. 

16. It Pays to Advertise. —See Drama list. 

Three acts. 

French. 

17. Officer 666.—See Drama list. 

Three acts. 

French. 

18. Tabloid.— See One act plays. 

Tragic farce. 

French. 

19. Love in a Railroad Train. —See One act 
plays. 

French. 

20. The Burglar. —Cameron. 

See Plays for Ladies. 

French. 

21. Brace of Partridges. —See Drama list. 
French. 

22. Wrong Side of the Road. —See Drama list. 
One act. 

French. 

23. Private Secretary. —See Drama list (Easy 
plays). 

French. 


[ 65 ] 



Play Catalogue 


24. Mrs. Temple’s Telegram.—See Drama list. 
Excellent farce for advanced players. 

French. 

25. Beauty and the Barge.—See Drama list. 
French. 

26. The Dictator.—See Drama list. 

French. 

27. In Chancery.—See Drama list. 

Very clever. 

French. 

28. What Happened to Jones.—See Drama 

list. 

Very funny, high class farce. 

French. 

29. Too Much Johnson.—See Drama list. 

Very funny, clever high class farce. 

French. 

30. Charley’s Aunt.—See American Play 
Co.’s list of Dramas. 

To be had in Mss. form from French & Co. on 
payment of royalty. 

31. Believe Me Xantippe.—See Drama list. 
Excellent farce. 

French. 

32. Niobe All Smiles.—See Drama list. 
French. 

33. At the Movies.—Harold Allen and Joseph 
Upper. 

Farcical novelty in 1 act. Two males, 3 fe¬ 
males. One interior. 

French. 30c. 

34. Bill the Coachman.—John M. Francis. 
Three acts. Four males, 4 females. Plays 

full evening. 

French. 

35. Mrs. Flynn’s Lodgers.—By Henry A. 
Kniffen. 

One act. Four males, 1 female. One interior. 
Time, 40 minutes. Mrs. F. can be taken by 
male. Specialties may be introduced. 

French. 

36. Facing the Music.—J. H. Darnely. 

Five males, 4 females. One interior scene. 
Time, 2 hours. 

There are three Smiths, Rev. John Smith, John 
Smith, and Colonel Duncan Smith. They are all 
connected with a mansion of flats in Kensington 
and hopeless muddles are extracted from this 
fact. 

French. 30c. 


37. Charms of Music. —By Alex. Landlaw. 
One act. Four males, 3 females. 

Elizabeth, the servant, good character part. 

The obnoxious musician , visiting a peaceful 
household is very funny. A rollicking farce. 
Easy to play. 

French. 30c. 

38. A Photographer’s Troubles.—Jessie A. 
Kelly. 

One act. Seven males, 4 females. A scream¬ 
ingly funny specialty. 

French. 30c. 

39. Contrary Mary. —By Edith Ellis. 

“A polite farce.” Three acts. Seven males, 
5 females. 

Parts are well balanced and strongly charac¬ 
terized. Should be done by those whon can 
properly appreciate light comedy values. 

French. 30c. 

40. The Love Pirate. —George Ford. 

One act,.-^ Three males, 3 females. Easy in¬ 
terior. Time, 25 minutes. 

Henry becomes engaged to two girls at once 
through an innocent misunderstanding. Full of 
action and easy to produce. 

French. 

41. Late Mr. Costello. —See Drama list. 

High class farce. 


The following Farces by Pinero, listed under 
Drama list, are published by the firms of French 
(New York) and Baker (Boston): 


42. 

The Schoolmistress. 


43. 

The Cabinet Minister. 


44. 

Dandy Dick. 


45. 

The Amazons. 


46. 

The Magistrate. 


47. 

In Chancery.— See above. 


48. 

Oscar 

The Importance of Being 
Wilde. 

Earnest.—• 

49. The Return of Deborah. —See list for Fe¬ 
male characters. 

French. 

50. 

Strange Adventures of Miss 

Brown. 


Three acts. Six males, 8 females. 

French. 30c. 

51. Those Husbands of Ours. —See list of fe¬ 
male characters. 


[ 66 ] 



Play Catalogue 


52. That Rascal Pat. 

One act. Three males, 2 females. Time, 50 
minutes. 

Pat tries to serve two masters at once. 

French. 25c. 

53. Freezing a Motlier-in-Law.* 

One act. Three males, 2 females. One simple 
interior. 

The nephew from America tries a mixture for 
suspending the animation of cattle on his 
friend’s prospective mother-indaw. Gives chance 
for good acting in every character. 

French. 25c. 

54. Jumbo Jim. 

One act. Four males, 3 females. Time, 40 
minutes. Leading character is comedy darkey 
who gets everything upside-down. 

French. 25c. 

55. First Aid to Wounded. —See One act list. 

French. 

56. A Regular Fix. 

One act. Six males, 4 females. Time, 50 min¬ 
utes. An old favorite. 

French. 25c. 

57. French Without a Master. —Tristan Ber¬ 
nard. 

Five males, 2 females. One interior. Clever 
farce, concerned with a bogus interpreter who 
does not know a word of French. 

French. 25c. 

58. She Loves Me—Not. —Geo. Bloomquist. 

One act. Interior, 4 males, 1 female. A 

bright, quick action little play. 

French. 30c. 


Farces Published by Baker & Co., Boston, o5c 
Unless Otherwise Stated. 

59. Professor Pepp. —See Plays for Young 
People. 

60. Engaged by Wednesday.— See Plays for 
Young People. 

61. Caught Out.— By H. M. Dana. 

Three acts. Nine males, 2 females. One in¬ 
terior. Time, 1 V ‘2 hours. 

Boyd makes a foolish bet that he will propose 
to Bess Mason and be rejected. She overhears 
the plot and accepts him, thus getting matters 
complicated for herself and Boyd too. Easy and 
effective. 25c. 

62. Three Hats. —A Shirley. 

Three acts. Five males, 4 females. One in¬ 
terior. Plays full evening. Very laughable. 


63. The Beauty Machine.—T. H. Guild. 

Two acts. Three males, 8 females, and extras. 
Costumes fantastic. Single interior. Plays 1 
hour. 

No men are allowed in the kingdom of Quey- 
lia, but three unfortunate males drift in with 
extraordinary results. Decided novelty. Can be 
given by all girls. 25c. 

64. A Quiet Family.—W. E. Suter. 

One act. Four males, 4 females. Time, 55 

minutes. 25c. 

65. Freezing a Mother-in-Law.—T. E. Pem¬ 
berton. 

Plays 45 minutes. 25c. 

66. “William.”—W. C. Parker. 

One act. Two males, 2 females. One interior. 

Time, 20 minutes. A brisk little piece—easy. 
All good parts. 25c. 

67. Chums.—See Plays for Young People. 

68. The Marble Arch.—E. Rose and A. J. 
Garraway. 

Two males, 2 females. Easy interior. Time, 
30 minutes. 25c. 

69. Miss Parkington.—M. E. Countryman. 

One male, 3 females. Easy interior. Time, 25 

minutes. 

Bashful young man has a narrow escape from 
proposing to the wrong Miss Parkington. Easy 
and effective. 25e. 

70. The Templeton Teapot.—G. C. Strong. 
One act. Four males, 4 females. One interior. 

Time, 30 minutes. 

The teapot, a priceless treasure, gets mixed up 
with a modern love affair, getting the hero ar¬ 
rested as a burglar, and every one else sadly 
mixed up. Bright and entertaining. 25c. 

71. A Pair of Burglars.—B. P. Glenn. 

One scene. Two males, 2 females. One in¬ 
terior. Time, 30 minutes. A brisk little piece, 
easy and effective. 25c. 

72. Kid Curlers.—D. Waldo. 

One act. Two males, 2 females. One interior. 

Time, 30 minutes. 

Pinch, a cranky old bachelor, in terror of Ger¬ 
man spies and dynamite, takes a pair of kid 
curlers belonging to Amanda Gull, maiden lady, 
for fuses and starts a disturbance that she is 
unwilling to explain away. Easy. 25c. 

73. Dane’s Dress-suit Case.—R. C. V. Meyers. 
One scene, 2 males, 1 female. Easy interior. 

Time, 15 minutes. A good short play to fill out 
a bill or fill in an intermission. All action. 
Parts young and well dressed. 25c. 

[67] 


* Also published by Drama Publishing Co. 




Play Catalogue 


74. The Automatic Servant Girl.—A. San¬ 
ford. 

One act. Two males, 1 female. Easy interior. 
Time, 20 minutes. A mechanical servant girl is 
shown to be full of humorous possibilities. 35c. 

75. Box and Cox. 

Two males, 1 female. Most popular farce ever 
written. 25c. 


The following are 25c unless otherwise stated: 

76. All Tangled Up.—C. Townsend. 

Three acts. Five males, 3 females. One in¬ 
terior. Plays 2 hours. 

The major gives his partner’s card to a young 
lady and tangles up the affairs of seven people. 

77. Bardell vs. Pickwick. 

One act, arranged from Dickens. Six males, 
2 females. Scene, a court room. Time, 30 min¬ 
utes. 

78. Peter. —Harry Osborne. 

One act. One male, 2 females. One interior. 
Time, 20 minutes. A rapid bit of nonsense. 

79. The Silent System. —A. Dreyfus. 

One act. One male, 1 female. Time, 30 min¬ 
utes. Scenery unimportant. 

In this little sketch the lady does all the talk¬ 
ing, the gentleman not being able to get in a 
word. 

80. The Crimson Cocoanut. —Ian Hay. 

“An absurdity in one act.’’ Four males, 2 
females. One interior. Time, 35 minutes. 

Detective in pursuit of anarchists is entangled 
with his lady love in some humorous perils. 

60c. Eoyalty, $5. 

81. My Lord in Livery. —By S. T. Smith. 

Excellent little farce. Four males, 3 females. 

Time, 45 minutes. 

82. Thirty Minutes for Refreshments. —G. M. 
Baker. 

One act. Four males, 3 females. Scene, an 
interior. Time, 35 minutes. 

83. Marrying Belinda. —G. C. Strong. 

One act. Four males, 4 females. An easy in¬ 
terior. Plays 30 minutes. Easy. 

84. Her Busy Day.— J. R. Condin. 

Seven males, 5 females—some of these ladies 
can be doubled. Depicting the troubles of an 
inexperienced housekeeper and introducing a 
variety of humorous characters and incidents. 
Plays 1 hour. 


85. Her Weekly Allowance.—J. A. Kelley. 

One act. Nine males, 7 females. One interior. 
Plays 30 minutes. 

Also depicts trials and tribulations of a young 
housekeeper. 

86. Paddle Your Own Canoe.—G. M. Baker. 

One act. Seven males, 3 females. Irish, Negro, 
Chinese comedy parts. One interior. Time, 40 
minutes. 

87. Special Delivery.—D. M. Henderson. 

One act. Three males, 2 females. One in¬ 
terior. Time, 20 minutes. 

88. A Straw Man.—E. Aborn. 

One act. Three males, 2 females. Scene, a 
garden. Plays 30 minutes. 

89. Up Against It.—I. G. Osborn. 

One act. One easy interior. Five males, 3 
females. Time, 25 minutes. Easy. 

90. The Widow from the West.—H. Coon. 

Three acts. Five males, 3 females. Easy in¬ 
terior throughout. Plays full evening. 

91. Gadsby’s Girls.—B. C. Porter. 

Three acts. Five males, 4 females. One in¬ 
terior. Time, 1% hours. 

On a bet with three friends Gadsby woos and 
wins their three fiiancees away from them. All 
parts good, clever dialogue. 

92. Alias Brown.—E. J. Whisler. 

Three acts. Eleven males, 5 females. Two 
interiors. Time, 2 hours. 

Good, rapid farce and very funny. A play 
hitting off the divorce mill. Scenes laid in a 
hotel in Reno, Nevada. 35c. 


The following are published by Penn & Co., 
Philadelphia. 25c each: 

93. At the Postern Gate.—Ernest J. Whisler. 

Two acts. Two males, 3 females. Time, 1% 

hours. 

Young man loses his fiancee’s address, and 
there being 2399 other girls of the same name 
in city directory many explanations are neces¬ 
sary before peace is restored when the two meet 
by accident. 

94. Aunt Susan Jones.—H. Elliot McBride. 

One act. One male, 4 females. Time, 30 min¬ 
utes. Ordinary interior. 

Aunt S., eccentric, wealthy, visits her city 
relatives and, under the guise of deafness, ex¬ 
poses hypocrisy and rewards sincerity. Aunt S., 
strong, humorous character. Very easy to act. 


[ 68] 



Play Catalogue 


95. Bargain Day at Bloomstein’s. —Edward 
Mumford. 

One interior. Five males, 10 females. Time, 
30 minutes. 

96. Borrowers’ Day.— Jessie E. Henderson. 

One act. Five males, 6 females. Scene, in¬ 
terior, or can be played without scenery. Time, 
30 minutes. 

Box and Cox. —Madison Morton. 

The landlady gets double rent for the room 
by letting it to Box in the day and Cox at night. 
They meet and there is trouble. (Described 
under French and Baker list of Farces also.) 

97. The Bowery Night School. —J. T. McIn¬ 
tyre. 

Sketch. One act. Eight males. See plays for 
male characters only. 

98. A Cloudy Day.— B. L. C. Griffith. 

One act. One male, 1 female. Time, 20 min¬ 
utes. Easily staged. 

Newly-weds have their first tiff over the por¬ 
trait of her grandfather. 

99. The Depot Lunch Counter. —Frank Du¬ 
mont. 

One act. Simple interior. Thirteen males, 2 
females. By doubling, farce can be given by 
9 persons, all male if preferred. Time, 45 min¬ 
utes. 

A rollicking absurdity. Pippins, manager of 
the counter, puts up sign, Boy Wanted, and 
Rube, “who looks the part,” takes down the 
sign and goes to work dusting the pies and 
starts a lot of humorous troubles. 

100. The District Convention. —Frank Du¬ 
mont. 

One act. Eleven males, 1 female, or 12 males. 
No special scenery required. Costumes and 
properties all easy. Time, 45 minutes. Charac¬ 
ters include, Irish policeman, Swedish janitor, 
the hair-lip man, tough candidate, stuttering 
man, Hebrew, colored delegate, Chinaman, and 
German band. The man who has fits should be 
eliminated. A Woman’s rights champion breaks 
the slate and captures the convention. A chance 
to burlesque modern politics and introduce local 
gags. 

101. The Dime Lunch Room. —John T. Mc¬ 
Intyre. 

One act. Four males, 3 females. Easy in¬ 
terior. Time, 30 minutes. 

The things that happen and the people who 
appear are all typical of New \ ork’s East Side 
—Mickey de Bite, Mame, a waitress; Hortense, 
cashier; Alderman Hogan, a Londoner, Miss 
Gush, a spinster, and the chef. 


102. Doctor Cure-all. —S. Jennie Smith. 

Two acts. Two males, 8 females. Ordinary 
scene. Time, 25 minutes. One of the. easiest 
plays and very funny. 

Doctor advertises he can cure any ill that 
flesh is heir to. Following his treatment the fat 
woman becomes distressingly thin, the lean one 
very fat, the bashful, silent girl a noisy hoyden, 
and in his terror the doctor flees for protection 
to the wealthy widow. 

103. A Duel to the Death. —Robert C. V. 
Meyers. 

One act. Two males, 3 females. Plain in¬ 
terior. Time, 40 minutes. 

Aunt wishes niece to marry wealthy old man— 
niece is already engaged to another. 

104. Donovan and the Dago. —Harry Newton. 

See Male characters’ list. 

105. The Dressing-gown. —R. C. V. Meyers. 

One act. Three males, 3 females. Interior. 

Time, 35 minutes. 

Peabody buys a new dressing-gown, and, dis¬ 
covering it is too long, makes that an excuse for 
losing his temper with every member of his 
household. Every one determines to cut off, un¬ 
known to Peabody, a half yard of the garment. 
Situations are funny. 

106. Engaged. —See Drama list. 

107. An Economical Boomerang. — W. H. 
Neall. 

Three males, 3 females. Time, 40 minutes. 
Costumes and scenery, very simple. 

Dabbleton’s idea of economy induces his wife 
to make her own clothes. She uses her husband 
as a figure for draping, and while thus engaged, 
callers arrive unannounced. 

108. Four A. M.—-Chas. Townsend. 

Satirical sketch in one act. Two males, 1 fe¬ 
male. Scene, a parlor. 

Mrs. Dashington’s ingenious methods of caus¬ 
ing her husband to confess his misdeeds after 
an “all-night” brokers’ meeting are mirth pro¬ 
voking. 

109. His Heroine. —Margaret L. Holbrook. 

A drawing-room interior. One male, 3 females. 
Time, 30 minutes. 

A young author, in search for a heroine for 
his new book, pretends to have the acquaintance 
of two girls visiting his aunt. His claim being 
fictitious, the young ladies make it uncomfort¬ 
able for him. 

Jumbo Jim. —Described under French publica¬ 
tions. 


[ 69 ] 



Play Catalogue 


110. On Account of the Lobster. —R. C. V. 

Meyers. 

One act. Two males, 2 females. Easy in¬ 
terior. Time, 40 minutes. 

A series of funny situations by an attempt to 
pacify the master of the house whose temper 
has not been improved by a very generous lob¬ 
ster supper the previous evening. 

111. The Public Worrier. —George M. Vickers. 

One act. Five males, 2 females. Scene, an 

office. Time, 25 minutes. Every-day costumes. 

An ingenious Yankee conceives the idea of 
assuming the troubles of other people and doing 
their worrying for them for a consideration. He 
succeeds beyond his most sanguine expectations. 

112. The Rough Diamond. —J. B. Buckstonc. 

Drawing-room. Four males, 3 females. Time, 

40 minutes. English costumes. 

The most prominent actors of the day have ap¬ 
peared in this farce—favorite play of the late 
Rosina Vokes. Story is of an unsophisticated 
country lass who marries an English nobleman. 
Easily produced. 

113. The Restville Auction Sale.— S. Decatur 
Smith, Jr. 

One act. Five males, 5 females. Time, 45 
minutes. Ordinary scene. 

The contents of the packages are unknown 
until after sale. Various people acquire most 
inappropriate articles, and the village constable 
appears on the scene and proposes to arrest 
every one on the charge of conducting an auc¬ 
tion without the necessary State license. 

114. Raggles’ Corner. —Bartha M. Wilson. 

One scene—a street scene. Two males, 5 fe¬ 
males. Time 1 hour. Costumes suitable to the 
Bowery. 

A sharp, witty street urchin, who blacks boots 
and sells papers, plays the leading part. A 
patron of the bargain country, a man who won’t 
have a shine or buy a paper, a spinster with re¬ 
ligious tracts, and Baggies’ best girl, all con¬ 
tribute to the farce. 

115. Too Much Galatea. — Arthur Lewis 
Tubbs. 

One act. Two males, 2 females. Time, 50 
minutes. Ordinary interior. Costumes modern, 
except Galatea, which is Greek. 

Fenton, having won a statue of Galatea at a 
raffle, goes to sleep and statue comes to life and 
makes love to Fenton. 

116. The Man Outside. —Helen Bagg. 

One act. Interior scene. Three males, 1 fe¬ 
male. Time, 45 minutes. 

MacArthur, to be married on the morrow, has 
been counting on advance royalties from his 


novel to pay for honeymoon, when he learns 
novel is refused. In desperation he tries to steal 
his own wedding presents. 

117. The Top Landing. —R. C. V. Meyers. 

One act. Three males, 3 females. Time, 40 

minutes. A room in a lodging house. 

An impecunious artist and an equally impov¬ 
erished author, who have but one pair of shoes 
in common, attempt to keep urgent engagements 
at the same hour. The assistance rendered by 
their sweethearts is very funny and only com¬ 
plicates matters the more. 

118. Art for Breakfast.— W. C. Parker. 

One act. Two males, 2 females. Scene, 
artist’s studio. Time, 20 minutes. 

Artist and college student are reduced to such 
straits that there is not money enough to buy 
breakfast, when Harry’s sweetheart, disguised 
as an old woman, comes, offering to pay ten dol¬ 
lars for a realistic picture of some fruit and 
sandwiches she piles on table. Boys eat food 
and offer to^do old lady’s picture. Disguise un¬ 
masked, etc. 

119. Philosophy Exploded. — By Anthony 

Matre, K. S. G. 

One act. Two males, 1 female. Can also be 
performed by all males. 20e. 

120. Strange Happenings at Slowville Sta¬ 
tion. —By Rose Godar. 

One act. Fourteen characters. 20c. 

Denison & Co., Chicago. Publishers of the fol¬ 
lowing at 25c.: 

121. Money Talks. —See Spanish. 

122. The Editor-in-Chief. —Chas Ulrich. 

Farce-comedy of newspaper life. See plays for 

Male characters. 

123. Borrowing Trouble.—T. S. Denison. 

One act. Three males, 5 females. Scene, a 

plain room. 

Illustrates the amusing experiences of a bor¬ 
rowing family—“dead-beat,” old lady . gossip, 
darky servant girl, doctor and detective are 
among the characters. 

124. The Great Doughnut Corporation.—T. S. 

Denison. 

One act. Easy scene—an office. Three males, 
5 females. Time, 30 minutes. 

Written as satire on the bogus speculative 
schemes, full of varied character parts. It has 
abundant action and is intended for small clubs 
possessing a majority of female talent. 


[ 70 ] 



Play Catalogue 


125. The Great Medical Dispensary. —Larry 
Vane. 

One act. Time, 30 minutes. See Boys’ lists. 

126. Initiating a Granger. —T. S. Denison. 
See Boys’ plays. 

127. On Guard. —Chas. Townsend. 

One easy scene. Four males, 2 females. 
McFinnegan and his encounter with the fiery 

Colonel Pcpperell is the incident of the play. 

128. The Star Boarder. —Chas. N. Holmes. 
One act. Scene, a dining-room. One male, 8 

females. Time, 45 minutes. 

The star-boarder fools with an ancient clock, 
incurring the landlady’s disfavor, etc. 

129. Taking Father’s Place.— W. C. Parker. 
One act. Five males, 3 females. Time, 30 

minutes. Scene, broker’s office. 

The father, being ill, son fresh from college 
comes to manage affairs. Full of well-drawn 
comedy characters. 

130. Fun in a Photograph Gallery. —James F. 
Parsons. 

One act. Simple interior. Six males, 10 fe¬ 
males. 

Blundering Dutchman, with no knowledge of 
the business, purchases photo gallery and has 
many applicants of all variety. Great comedy 
parts. 

131. Is the Editor In? —T. S. Denison. 

One scene — country printing office. Four 
males, 2 females. Time, 20 minutes. 

Brassy editor, poetical “old maid,” aggrieved 
subscribers. 

Jumbo Jim. 

Mentioned elsewhere in Farce list. 15c. 

132. East of Lynn, Mass. —Harry L. NewTon. 
Seven males, 4 females. 

“A gabfest” burlesque on East Lynn. 

133. The Fatal Necklace. —Joseph Harris and 
Harold B. Allen. 

Burlesque melodrama. Two males, 3 females. 
Time, 25 minutes. 

A full evening melodrama of thrills boiled 
down to a half hour of solid laughter. 

134. The Battle of Roaring-bull. —See Boys’ 
list. 

135. The Rummage Sale. —Jessie A. Kelley. 
One scene. Four males, 10 females. Time, 50 

minutes. 

An aid society to raise money have a sale of 
their discarded clothes. Excellent character 
parts—Jewish, Irish, Italian, etc. Very easy to 
produce. Suitable for church societies. 


136. A Rehearsal at Ten. —-Harry L. Newton. 
Eighteen males, 13 females. 

A back of the footlights comedy. Rich comedy 
parts. Opportunities to introduce specialties. 
Easily produced as manager can have a copy of 
play with him during entire performance. 


Farces written by W. D. Howells. Published 
by French & Co.: 

A Letter of Introduction.—Three males, 2 fe¬ 
males.. A light farce, easy to stage. 35c. 

137. Evening Dress.—See Simple one act play 
list. 

138. A Likely Story.—See Simple one act 
play list. 

139. Parting Friends.—Farce with a senti¬ 
mental strain and a few moments of tension at 
end. One act. Three males, 5 females. Simple 
interior. 

140. The Garroters.—Three acts. Five males, 
4 females. Two interiors. Full of comic situa¬ 
tions. 35c. 

141. The Mouse Trap.—One act. One male, 
6 females. One simple interior. 

142. The Albany Depot.—One act. Three 
males, 5 females. One interior. 

Waiting-room of depot; full of movement and 
comic complications. 

143. A Previous Engagement.—One act. Two 
males, 2 females. One interior. Just the sort 
of play for a small cast. 

144. The Unexpected Guest.—One act. Seven 
males, 6 females. 

An exceptionally funny and lively farce for 
large cast. Splendid opportunities for an ama¬ 
teur cast. All of above are listed at 35c. 

145. Punk, or .The Amateur Rehearsal.— 

Harry C. Smith. 

A ridiculum in one act. Three males, 4 fe¬ 
males. One simple interior. 

French. 35c. 

146. The Obstinate Family. 

One act. Three males, 3 females. Scene, plain 
interior. Time, 45 minutes. Costumes of the 
day. 

James, a servant, tries to induce Lucy, the 
maid, to say, “Thank goodness, the table is 
spread!” She refuses and a lover’s quarrel en¬ 
sues. The master of the house jokingly takes 
sides with James. His wife playfully justifies 
Lucy. A popular amateur play. 

Penn. 25c. 


[ 71 ] 



Play Catalogue 


* FOLK PLAYS 


See under Irish. 

Irish folk history plays.—Lady Gregory. 

1. The Foam-maiden. — Particularly good 
little play in the spirit of an Irish folk-story. 
Constance Mackay, in the Silver Thread and 
other folk plays. One boy, 1 girl, 1 woman. 

Holt. $1.25. 

See under separate countries—Chinese, French, 
Russian, Irish, etc. 

2. The Wonderful Tea Kettle under Japanese. 

In Constance Mackay’s volume of folk plays 

are: 

3. Cornish—Play in 3 acts. 

4. Italian— The Forest Spring. —Play for 1 
female, 2 girls, and 1 boy. 

5. Norwegian— Troll Magic. 

6. French— The Three Wishes. —Two males, 1 
female. 

7. English— A Brewing of Brains. —One boy, 
1 girl, 1 woman. 

8. German— Siegfried. —Three males, 2 fe¬ 
males. 

9. Russian— The Snow Witch. 

See under Christmas list suggestions for Inter¬ 
national programs with folk dances introduced 
in Christmas play, etc. Hofer. 


PLAYS OF FRANCE AND FRENCH PLAYS 


1. The Affected Young Ladies. —Translated 
by Barret Clarke from Moliere's comedy in one 
act. 

Famous satire on intellectual and social af¬ 
fectation. Like most of Moliere’s plays the 
theme is ever modern. 

Six males, 3 females. 

French. 35c. 

2. Les Pr6cieuses Ridicules. 

Six males, 3 females—with 

3. Les Femmes Savants. —Moliere. 

Holt. 92c. In French. 


* Footnote. See addenda. 


4. Le Bourgeois Gentilhomme. —Moliere. 

Comedie-ballet. Five acts, 11 males, 4 fe¬ 
males, extras, interior setting, incidental music 
and dancing. 

Holt. 64c. In French. 

4. L’Avare. 

For advanced French students. Good play to 
act. 5 acts. Ten males, 4 females. Costumes 17th 
century. Interior. 

Holt. 36c. In French. 

5. The Merchant Gentleman. —Moliere. 

A play which is peculiarly well adapted to 
amateur production. Clarke translation. 

French. 50c. 

6. The Doctor in Spite of Himself.—Moliere. 

Translation by Prof. Clarke. 

Three acts, 8 males, 3 females. 

Famous farce. A sharp satire on the medical 
profession in the 17th century—a play that is 
still enjoyed by a twentieth century audience. 

7. Le Misanthrope.—Moliere. 

Holt. In French. 

8. Rosalie.—From French of Max Maury. 
One male, 2 females, 1 interior. Costumes 

modern. Time, 15 minutes. 

Typical French “curtain raiser.” Rosalie, 
the stubborn new maid, leads her master and 
mistress uncomfortable situations. French. 30c. 

9. Indian Summer.— By Meilhac and Halevy. 
Comedy. One act. Two males, 2 females. 

Modern costumes. One interior. Time, 30 min¬ 
utes. In English. 

French. 30c. 

10. L’Ete de la Saint,—Martin, Meilhac et 

Halevy. 

Au chateau de Briqueville dans les environs 
de Tours. 

Allyn & Bacon. In French. 

12. Gringoire. —Par Theo. de Banville. 

4 m., 2 f., pages du roi, valets, officiers et 
archers de la garde. La scene est a Tours au mois 
de mars, del’annee, 1469** . 

13. See Gringoire in One-act plays. (Allyn & 

Bacon.) 

14. "Master Patelin. 

Translation of an early French farce, Brueys 
version. Setting and character belong to middle 
ages. Play concerned with the crooked dealings 
of a clever lawyer. Seven males, 2 females. 
French. 25c. 


** Allyn & Bacon. In French. 
* See note page 75. 


[ 72 ] 





Play Catalogue 


15. The Iron Master. —By J. V. Pritchard. 
From the French. Old fashioned drama in 4 

acts. Scenery is laid in France. 

Penn. 25c. 

16. The Postscript. —Emile Augier. 

One male, 2 females. See One-act plays. 

17. Grammer. —By Labiche. (Clarke trans¬ 
lation). 

Farce. Four males, 1 female. 25c. 

18. The Two Cowards. —Labiche. 

Comedy in 1 act for 3 males, 2 females. 

A strong willed girl helps her father choose 
for her the man she w r ishes to marry. 

French. 30c. 

19. French Without a Master. (See Farces.) 

20. I’m Going. —See easy One act plays. 

21. Modesty. —Paul Hervieu. (See One-act 
plays.) 

22. Brignol and His Daughter. —Capus. 

Five males, 4 females. 

Considered one of the best of this French 
dramatist, noted for his sprightly and satirical 
plays. 

23. Crispin, His Master’s Rival. —Le Sage. 
Comedy in one act for 4 males and 3 females. 

Eighteenth century settings and costumes. 

Concerned with the pranks of two clever 
valets. French. 35c. 

24. A Scrap of Paper.—By Sardou. 

Famous play. (See Drama.) 

25. The Romancers. —Rostand. 

See Short Plays and Outdoor Plays. 

26. The Man Who Married a Dumb Wife.— 
Anatole France and Barker. See Short Plays. 

* 27. La Comedie de Celui Qui Epousa Une 
Femme Muette.— Anatole Fiance. 

28. Pater Noster. —Francois Copee. 

Poetic play in 1 act for 3 males, 3 females. 
A pathetic incident of the time of the Paris 
Commune in 1871—used by Augustin Daly as 
The Our Father. 

French. 35c. 

29. Le Pater. —Francois Coppee. 

Drame en un acte, en vers. 

Alphone Lemerre 23 Passage Choiseul, Paris. 

30. The Art of Being Bored. —Edouard Pail- 
leron. 


Comedy in 3 acts (Le monde ou 1’on s’ennuie). 
Eleven males and 9 females. 

Probably the best known and most frequently 
acted comedy of manners in the realm of the 
past century. French drama. It is full of wit 
and good situations. French. 35c. 

31. The Black Pearl.—Victorien Sardou. 

Seven males and 3 females. 

One of Sardou’s most famous comedies of in¬ 
trigue. French. 35c. 

32. The Three Guardsmen.—Charles Rice. 

Fifteen males and extras, 3 females. Period 

1652. 

33. A Celebrated Case. 

Seven males, 4 females, 1 child. 

From the French. Old fashioned. 

34. Five plays from the French of Henri La- 
vedan, including * ‘ On the Quays. ’ ’ 

35. Napoleon and the Sentry.—Dramatic 

Publishing Co., Chicago. 

36. Athalie, par Racine. 

Seven males, 4 females and extras. 

Masterly sacred drama. Tragedie en cinq 
actes. (48c. Holt.) 

37. Cinna, par Corneille, 

Six males, 3 females. Tragedie en, like cinq 
actes. 

38. Horace.—Corneille. 

Seven males and 3 females. 

Tragedie en cinq actes. La scene est a Rome, 
dans une salle de la maison d ’Horace. (Holt.) 

39. L’Aiglon.—Rostand. 

Drama en six actes, en vers. (See L’Aiglon 
mentioned above.) Holt. 

40. Les Romanesques—The Romancers, men¬ 
tioned above—comedie en trois actes en vers. 
3 f., 5 h. 

41. La princesse lointaine, piece en quatre 
acts en vears. 

42. Cyrano de Bergerac comedie heroique en 
cinq actes, en vers. Rostand. Libraire Charpen- 
tier et Fasquelle and Holt 96c.) 

43. II faut qu’une porte soit ouverte ou fer- 

mee (Musset) 1 h. 1 f., en Trois comedies, De 
Musset, D. C. Heath, Boston, N. Y. and Chicago. 


* Censored. Author recently put on Index. 

** Also published by Dramatic Pub. Co. Page 

72. 


[ 73 ] 




Play Catalogue 


44. Voyage de M. Perrichon —Labiche et 
Martin. Edited by Benjamin W. Wells, Ph. D. 
Harvard, 10 h. 2 f. commissionaries, voyageurs, 
quatre actes. (D. C. Heath pub. and H. Holt.) 

45. Les Boulinard. —Maurice Ordanneau, Al- 
bin Valabregue, Henri Queroul—(edited by F. 
G. Harriman, Royal Belfast Academical Institu¬ 
tion) trois actes, 12 h., 4 f. D. C. Heath. 

46. La grammaire —(Labiche). See above. 
Wm. Jenkins, 851 Sixth ave., N. Y. 

47. La perle noire. —V. Sardou. See above. 

48. Le monde ou l’on s’ennuie. —Edouard 
Pailleron—with English notes by Prof. Henne- 
quin. 

49. Le celebre Baluchard, comedie en un acte 
pour hommes, par Fernand Beisser—deux 
homines—Librarie Theatrale, 14 rue de Grarn- 
mont.. 

50. Une date fatale —par Quatrelles—un 

acte. 1 h. 1 f. 18 rue Jacob, Paris. 

51. Le bourgeois gentilhomme (Moliere.) See 
above special edition edited by F. M. Warren— 
D. C. Heath, publishers. 

52. Le Village. —Octave Feuillet. 

Two women, 2 men. Holt. 

53. Les petits oiseaux, comedie en 3 actes.— 

Labiche et Delacour, 8 h. 3 f. Holt. 

54. Un mari pour 30 centimes —vaudeville 
en un acte pour deux hommes; ( a valet saves 
his master from a marriage in haste) the Valet 
has the important part—very exacting. This 
actor must be versatile. 

The Eaglet.— II. D. Norman. 

In Plays of E. Rostand translated into Eng¬ 
lish. MacMillan, N. Y. 

55. Une Lettre chargee— saynete pour 2 
hommes.—Georges Courteline. 

(P. V. Stock, 155 rue Saint Honore, Paris.) 

Theatre pour la Jeunesse. 

56. Les deux ecoliers, comedie en un acte, en 
prose, par A. Laurent de Villeroy, 3 garcons, 1 
femme. Jenkins, Fifth ave., publisher. 

57. Fifteen French plays.. 

Arranged and edited by Victor Francois, 
Ph. D. officier D’Academie. L’Avocat Petelin, 
from La farce de Matre Patelin. Dan un Ascen- 
seurs.—A la Chambrce. 

Les Deux sourds, are abridged from the plays 
bearing the same titles, plays by Bridier, E. 
Phillipe, Matrat & Fordyce, and Moinaux, re¬ 
spectively. Le medecin malgr6 lui —abridged 
and modified version. For beginners in French, 
leading to intermediate and more difficult. 

(Allyn & Bacon, $1.00.) 


Five delightful plays from the old French. 

Caroline W. Thomason (Penn). These plays are 
so arranged that they may be produced in either 
English or French, the complete French text as 
well as the English being given for each speech. 
Music is indicated for the songs and dances. 
Costumes simple, easily made and suggestions 
given for their making: 

61. Chaperon Rouge—Red Riding Hood—(3 
scenes for 2 males, 3 females and a chorus of 4 
or more nymphs of the wood. 30 minutes. 35c. 

62. Barbe Bleue.—Bluebeard. 

Three scenes. Five males, 4 females. Time— 
45 minutes. Arrranged so it may be played with 
interior or exterior setting. 35c. 

63. Cendrillon— Cinderella. 

Six males, 3 females and chorus of lords, 
ladies, mice, etc. Three kitchen scenes and 
ballroom. Time—40 minutes. 35c. 

64. La Belle et la Bete—Beauty and the 

Beast. 

Six scenes. Three females, 4 males. 35c. 

65. Les Trois Ours—The Three Bears. 

No change of scene and the setting is simple. 
Two males, 2 females, or 3 males, 1 female. 
Time—20 minutes. 

See French Plays for girls in Juvenile Play 
catalogue edited by Katherine Bregy, 21 W. 
Thirteenth St., Philadelphia, Pa. 

66. Two Can Play at That Game. 

A petite comedy in 1 act from the French of 
M. Eugene Pierron and Adolphe Lafferriete. 
Two males, 1 female. French. 25c. 

67. Husband to Order.—J. Morton. 

Scene, France, 1806. Five males, 3 females. 
Two acts. French. 25c. 

See Beauty and the Jacobin—one act (Tark- 
ington). 

68. L’ Etincelle—comedie en un acte—ex¬ 
cellent school play by Pailleron—included in the 
repertory of Comedie Francaise. Intermediate. 
Holt. 60c. 

69. L’Abbe Constantin.—Halevy. (Adapted 
by Cremieux and Decourcelle.) 

Five males and 4 females. Three acts. Am¬ 
erican Book Co., New York and Cincinnati. 

70. Le gendre de M. Poirier.—Augier et 

Sandeau, 4 act comedy. ‘ 1 The model comedy of 
manners.” (Brander Matthews.) Holt. 

71. Esther.— (Racine). 

Scriptural drama suitable for advanced 
French students. Arranged for amateur produc¬ 
tion by Edward S. Joynes (Holt.) 


[ 74 ] 



Play Catalogue 


72. Le Cid. —(Corneille). 

Edited by Edward S. Joynes. Holt. 52c. 

73. 

74. La poudre aux yeaux. —(Labiche et Mar¬ 
tin). 

Brilliant two-act comedy. Wittily depicts the 
efforts of two families of social climbers. 
Adapted to amateur acting. Medium difficulty. 
Holt. 50c. 

75. Chez L’ Avou§— comedie en un acte. 

(Bessier), 14 rue de Grammot libraire Theat- 

rale) 3 h.—very actable, lively little comedy— 
charming juvenile who stutters when excited, 
blustering old soldier and a lazy valet. 

76. The Village. —From the French of Feuil- 
let (see 52). The author paints the picture of 
an elderly couple and shows that they have not 
realized their happiness until it is on the point 
of being taken from them. Two males, 2 fe¬ 
males. In English 35c. French publisher. 

77. Doctor Love. —(L’ amour medicin) Mol- 
iere. 

Farce in 3 acts. 

Satirizes the medical profession. Through it 
runs the story of a young girl who pretends to 
be ill in order that she may marry the man she 
loves. Five males, 4 females. In English 35c. 
French publisher. 

78. Le Tartuffe.— Moliere. 

For advanced students. Holt. 72c. 

79. Le Proces de Jeanne d’ Arc. —Emil 
Mauret. 

Drama in 3 acts (advanced) in French. 

80. Le Duel. —Lavendan. 

Represents the best in contemporary French 
literature. Three acts. The priest, his brother, 
the doctor, and the wife are the principal char¬ 
acters. (As played in English in the United 
States by Otis Skinner). Very difficult acting. 

In French, Holt.) 

81. The Seal of the Confession. 

Scene of the play is laid in southern France. 
Five acts, 16 males, 8 females, children, police¬ 
men, guards, etc. (from Father Spillman's 
story). Rev. F. G. Holwek. Herder. 25c. 

82. Cyrano de Bergerac. —In English version. 
See Drama—Difficult. (Baker.) 


* Note to Patelin—No. 14. The translator in 
his notes explaining certain practices of the 
Catholic religion has failed to go after the 
proper authority in his version of the text. 


83. The Heart of France. 

Musical drama in 3 acts. For girls or boys; 
26 characters; any number for chorus. Com¬ 
plete, $1.00. Presentation Convent, 419 W. 
Thirty-third street, New York. 

Note to foreign edition of plays—Any dealer 
in foreign books will send for plays described as 
long as publishers’ name and address is given. 


GAELIC—Plays in 

Casad an Sugan (Twisting of the Rope).— 

Douglas Hyde. 

Talbot, Dublin. 

A Miracle Play in Irish. —Talbot. 

3. Rhymed Dialogues in Irish. —Alice Fur¬ 
long. Talbot. 12c. 


German Plays (or Translated from German) 

Unter vier Augen (Fulda) One-act comedy, 
well adapted for amateur production with 

Der Prozess —Benedix. 

Clever one-act comedy. 

Henry Holt. 52c. 

Wilhelm Tell, Schiller.—Holt. 96c. 

Maria Stuart. Holt. 92c. 

The faraway princess from the German of 
Suderman. Sec One act plays. French, pub. 

Siegfried— In Constance Mackay's Book of 
Folk Plays. See Folk plays. 

A Kettle of Fish. —From the German of Franz 
Von Sconthan. 

Six males, 4 females. Interiors. Time—2*4 
hours. 

An enthusiast is in the pursuit of the original 
of the portrait of a lady w r ith a dog, known to 
him only under the catalogue number of 728. 
After many disappointments he finds her. 

Baker. 25c. 

9. Liudolf. —A. Guggenberger, S. J. 

Historical drama of the time of Otho the 

Great. Five acts. See Historical plays. 

Herder. 25c. 

Large cast required of men characters only. 

See List of Cath. Theatre Movement, Phila¬ 
delphia, edited by K. Bregy, for list of German 
plays suitable for schools, etc. 

10. The Lost Paradise. —By Ludwig Fulda. 
Adapted from the German original for the 
American stage by Henry C. DeMille. A story 
of “a pearl” in a factory tow r n. 


* See addenda. 


[ 75 ] 





Play Catalogue 


GARDEN PLAYS 

1. Told in a Chinese Garden. (See also under 
Chinese.) 

2. Sanctuary. (See also under Woodland.) 

3. Princess in the Fairy Tale.—C. Wilcox. 

4. Mother Goose Garden.—C. Wilcox. 

(In Told in a Chinese Garden), (Children’s 
Plays.) 

Four of a kind in this volume not recom¬ 
mended. 

5. A Garden Cinderella.—Edith Burrows. 

Two acts, 3 males, 8 females and six or more 

girls for flowers. Opportunity for beautiful mu¬ 
sic and dancing in the play. Costumes may be 
simple or elaborate with colors to represent the 
flowers. Time—One hour. 

Penn. 25c. 

6. A Mother Goose Play.—M. D. Barnum. 

For any number of children. The parts are 

such that the costuming and acting are entirely 
suitable for either little girls or boys. Chorus 
of singers ingeniously maneuvered to conceal the 
scene shifter. Simple and pretty music fur¬ 
nished for the songs (French.) 

7. The Elf-Child.—Constance Mackay. 

One act, 4 speaking parts, chorus of 6 or more 
“village children.” French. 30c. 

8. The Princess and the Pixies.—Constance 
Mackay. 

One act, 8 speaking parts, attendants, etc. 
French. 30c. 

9. The Gooseherd and the Goblin.—Mackay. 
One act, 8 characters. (French.) 

10. Under the Greenwood Tree.—By Major 
Philip Trevor. 

Pastoral play in 1 act; 2 males, 5 females. 
Time—1 hour. 

French. 30c. 

11. Oberon and Titania..—Adaptation by 
Frances Clarke from Midsummer Night’s Dream. 
Time—30 minutes. One easy setting. Few prop¬ 
erties. Twelve speaking parts. All lines and 
situations not appropriate for children to give 
have been omitted without destroying the har¬ 
mony of scene and action. Suggestions for using 
Mendelssohn’s music and for songs and dances. 
French. 

12. The Pierrot of the Minute.—Dowson. 
(See Outdoor, Baker & French.) 

13. Flower of Yeddo.—Victor Mapes. (See 
Japanese plays). 

For garden parties this Japanese play is con¬ 
sidered indispensable. Can be played by all 
ladies. Time—30 minutes. 


14. An Old Garden. 

Old fashioned English polite comedy for 2 
males, 2 females. Setting is a garden. Time — 
30 minutes. French. 30c. 

15. The Shadow Garden. —Madison Cawein. 

Perfect idyl, omitting but one line— ‘ ‘ The hu¬ 
man Christ bade men regard me,” etc. A very 
ambitious production, but well worth using. Per¬ 
mission for playing should be made to G. Put¬ 
nam & Sons, New York. 

16. —Prunella or Love in a Dutch Garden.— 

Housman-Barker. 

Fourteen males, 8 females. Time— 1 hour. 

French & Co. 

17. In a Garden. —Iva Kempshall. 

Fairy play in 2 acts with 16 speaking parts 
and any number of children for extras. This 
play has a charming moral: “We cannot live 
without imagination and poetry, for they make 
life worth while.” French. 

18. The Fan. —By Goldoni. 

Ten males, 4 females. Scene an Italian gar¬ 
den. Baker. 

19. King Rene’s Daughter. See One-act plays. 

French & Baker. 

20. Doctor in Spite of Himself.—(Moliere) 

Six males, 3 females. Louis XIV costumes. 

French, pub. 

21. Beyond the Gate. —I. J. Crandall. 

Two acts, 2 males, 7 females, clowns, flowers, 
etc. Should be given in a garden with a wall 
for a background. Corinna, Daydream, Idleness 
and Work are all good acting parts. All parts 
can be played by girls. Any number of people 
can take part for dances, etc. 

22. The Romancers. —Rostand. 

Three-act drama in one garden scene. Garden 
with a wall required. See Outdoors. Baker & 
French. 

23. Behind a Watteau Picture. 

Italian garden setting. 

Royalty, $10. Baker. 

24. The Enchanted Garden. 

One act, 10 main characters— other parts may 
be added. 

Into a garden of very exclusive flowers a lit¬ 
tle wild rose strays. The cultivated flowers 
treat her with great disdain until she is chosen 
by Prince Butterfly. 

French. 30c. 

25. Pierrot Who Laughs. —Rostand. 

Translated from the French by Amy Lowell. 

French. 


[ 76 ] 



Play Catalogue 


26. A Case of Spoons. 

Scene laid in a garden in Tokio, Japan, re¬ 
quiring besides the garden setting, tea table, rus¬ 
tic seat and a few garden chairs or benches. 
See Japanese plays. French. 30c. 

See other plays under heading Japanese. 

27.. .See Bird’s Nest, under Fantasy. 

Three males, 1 female. (Baker.) 


PLAYS TOR GIRLS 

Published by French & Co. at 30c unless 
otherwise stated. 

1. The French Maid and the Phonograph.— 

Madeline D. Barnum. 

One act. One interior. Time—1 hour. Eight 
girls. A very amusing play. 

2. Mennemen Inn. —Elsie West. 

Comedy in 3 acts for 17 girls. Full of fun 
but reaches a dramatic climax at the end of the 
second act. A few objectionable lines should 
be cut. It will not spoil the play. Requires but 
one simple scene. Practically no properties. 

3. Aunt Maggie’s Will. —Elizabeth Gale. 
Comedy in three acts, 10 females. Two in¬ 
teriors. One of the most successful plays for 
girls. 

4. Three Girls from School. —Elsie West. 
Comedy with music (William Hutchison), 14 

females. One setting throughout—a garden. A 
nice little play with the exception of the song, 
“Belle Cherie,’’ which is not suitable in a play 
for young girls. 

5. An Evening at Helen’s. —Kate Thomas. 
One act. One interior. Time—30 minutes. 

Seven females. 

6 . Plain Mary Brown. —Sidney Blow. 

Comedy in two acts. One interior. Time— 

] 14 hours. An up-to-date Cinderella story for 
5 girls. 

7. The Princess von Barnhof. —Eulora M. 
Jennings. 

Comedy in 1 act. One interior. Eight girls. 
Time—25 minutes. A burlesque for girls, intro¬ 
ducing the character of Sure Luck Holmes. 
Some of the characters speak broken English. 

8. Tom’s Fiancee. 

Five females. One interior. Time—-1 hour. 
A play woven around the mistaken identity 

theme. 


9. Madame de Portment’s School. — Ella 
Crane Wilkinson. 

Comedy in 1 act. One interior. Six girls. 
Time—30 minutes. 

Mme. deP. is visited by the two mothers of 
two of the liveliest girls at school, and they 
prove to be the girls themselves masquerading. 

10. The New Governess.—Grace Luce Irwin. 

Comedy in 2 acts for 5 small girls. One in¬ 
terior. Time—45 minutes. 

11. Our Aunt from California.—Madeline 
Demarest. 

Farce in 1 act. One interior. Six girls. Time 
—35 minutes. 

Three sisters are expecting a rich aunt for a 
visit and a dressmaker respectively. The aunt 
is taken for the dressmaker, etc. Very popular 
girls’ play. 

12. The Honor of the Class.—Eleanor Crane. 

School-room sketch in 1 act. One scene. No 

setting required. Suitable for from 6 to 12 girls 
from 10 to 18 years. Time—% hour. Folk 
dances may be introduced. 

A prize being offered for the best poem, 
Gwendoline Prescott, the class favorite, is about 
to receive it when she is accused of plagiarism 
by the principal, who has discovered the same 
poem in a current magazine. How Gwendoline 
faces the accusation, and the unexpected proof 
of her innocence is developed in bright, crisp 
dialogue. 

13. Roster of Pearls.—Mary Rose Nevitt. 

A social incident in one act. Seven girls. One 
interior. Time—20 minutes. 

Janet Ransdell, newly married, learns that be¬ 
cause of her expensive wedding her family is 
impoverished and that through unlucky specu¬ 
lation, her father owes money to Mrs. Ames, 
a social climber, whom Janet has always de¬ 
spised. How Janet tries to purloin the roster 
of pearls and how the much despised Mrs. Ames 
comes to her assistance is told in the play. 

14. Mrs. Coulson’s Daughter. — Elizabeth 
Gale. 

Comedy, 11 females, Time—45 minutes. One 
act. 

Mrs. P. receives a note from Mrs. C., who 
says that she is leaving her daughter to the 
care of the neighborhood, neglecting to men¬ 
tion, however, that she is simply taking a trip 
to Europe, and it is assumed that she is going 
to die. At the same time Mrs. P. has arranged 
to take a girl from the orphan asylum to help 
with the work. The orphan is mistaken for Mrs. 
C. ’s daughter, who arrives to see how the sup¬ 
posed daughter of her mother is received. She 
then chooses a temporary guardian from among 
the villagers, and the play closes with the happy 
disposal of the orphan. 


[ 77 ] 



Play Catalogue 


15. The Literary Club.—Marie O’Keefe. 

American-Japanese play in 2 scenes. Clever, 

high class comedy for girls. Nine speaking 
parts and any number of extras. Time—40 
minutes. Costumes, American and Japanese. 
Two interiors. 

An American literary club traveling in Japan 
visits a girls’ school and the girls do a Japenese 
drill or dance. The club in return presents a 
short scene from Hamlet. The emperor’s niece 
presents Mrs. Perkins with a cup and saucer be¬ 
longing to the emperor. The imperial guard 
coming in search for that cup and saucer arrest 
Mrs. Perkins. Scene 2 is the trial—this is a 
funny scene. The emperor goes asleep con¬ 
stantly during the trial. This entertainment 
has been used in a number of convents with 
great success. 

16. Shakespeare’s Daughters.—Geo. Trader. 

A fantasy in one scene for 11 females. The 

scene is in a glade in which appear as many of 
Shakespeare’s female characters as practicable. 
Costumes. Fantasy ends with a charming pan¬ 
tomime. Eleven females at least. 

17. Mechanical Jane.—M. E. Barber. 

Comedy, one act. One interior. Time—25 

minutes. Three females. 

The mechanical figure comes in brown paper 
parcel in answer to advertisement, and after it 
is wound up its actions are startling. Two 
maiden ladies undertake the trial of the in¬ 
vention. 

18. The Belles of Canterbury.—A. B. Stewart. 

Play in one act. Scene is a schoolroom where 

a crowd of girls are discussing Chaucer. The 
characters break out of the book and these char¬ 
acters speak in Chaucer couplets, a contrast to 
the modern school girl’s language. The play 
has a distinct literary flavor, is delicately hu¬ 
morous and can be presented in an ordinary 
room and it is printed with full stage directions 
and suggestions for making the costumes. Time 
—40 minutes. Eleven females. 

19. Two Little Rebels.—Elsie West. 

Two acts. One interior. Costumes, Civil War. 
For 12 girls. See Civil War list. 

20. Every Graduate.—G. Blum and E. F. 
Hague. 

Modern mystery playlet in 3 acts. Sixteen 
males and females, but it may be played by an 
all girls’ cast. Costumes. Especially' devised 
for school presentation. 

21. A Bit of Nonsense.—Kate Thomas. 

One interior. Eight girls. Time—30 minutes. 
Girls at a school get up a play introducing bur¬ 
lesque impersonations of Shakesperian heroines. 


22. The Birthday Ball. —See under Revolu¬ 
tionary war list.) 

Comedy in one act. One interior. Five girls 
and footman—can be played as a maid. Cos¬ 
tumes, American-Colonial. 

23. The Little Princess. —F. H. Burnett. 

Three acts. Three interiors. Time—2*4 
hours. The story of Sara Crewe—most popular 
for girls’ schools. 

24. Beyond the Gate. —Irene J. Crandall. 

Modern morality in 2 acts. The parts may 
be played all girls. Nine characters and extras, 
clowns, poppies, harvesters fancies and three 
children. Time—1 hour, 15 minutes, depending 
on length of dances. Can be given on any 
stage or out of doors. Full description of cos¬ 
tumes contained in the book. The action is swift, 
dialogue has poetic beauty and homely wit. 

The above call for modern costumes except 
where otherwise specified. 

Girls’ plays published by Walter H. Baker Co. 
at 25c unless otherwise stated. Costumes are 
modern except when stated differently. 

25. Camp Fidelity Girls. —Edith Lowell. 

Comedy in 4 acts. One male—to be played by 

a girl—and 11 females. Two interiors. Time—2 
hours. 

A jolly party of girls occupy an old farm¬ 
house and there discover a secret that makes for 
the happiness and prosperity of a poor little 
cripple. 35c. 

26. I Grant You Three Wishes. —G. R. Bridg- 

ham. Fantasy, 1 act. Any number of girls from 
4 to 14. Small parts can easily be doubled. 
Four scenes are called for, but by use of 
screens the play may be carried through with a 
single setting. Forty minutes. A fascinating 
idea cleverly and vividly developed in action. 

27. King Rene’s Daughter. —T. Martin. 

From the Danish drama. One act, 6 males, 2 
females. See Plays for Ladies. 

28. Tickets for the Sheffield Choir. —Edith 
Lowell. 

Comedy, 1 act. A simple interior. Six fe¬ 
males. Time—% hour. An ingenious little com¬ 
edy easily produced. How the girls are 
stranded after an avalanche of concert tickets 
is amusing. 

29. A Case for Sherlock Holmes. —G. R. 

Bridgham. 

Comedy in 2 acts. One interior. Ten girls. 
Time—1 % hours. 

Miss Michalford plans to have her brides¬ 
maid’s supper at her aunt’s, a lighthouse 


[ 78 ] 



Play Catalogue 


keeper on a remote island. The merry party 
run into exciting times provided by a fugitive 
from justice who is thought to have taken 
refuge on the island. 35c. 


52. A Precious Pickle.—G. M. Baker. 

Farce in 1 act. Interior. Seven girls; 25 
minutes. Calls for an “old maid,” talkative 
woman, and colored servant. 


30. A Chinese Dummy. —M. D. Campbell. 
Farce, 1 act. One interior. Six females. 

Time—35 minutes. 

31. Aunt Mehetible’s Scientific Experiment. 

E. E. Brewster. 

Farce in 1 act. Scenery and costumes unim¬ 
portant. Six females. Written for a school en¬ 
tertainment to employ a lot of extra girls. 
Aunt Mehetible must be played well, but there 
is no acting whatever required for the other 
parts. Plays 20 minutes. 


53. The Princess.—Alfred Tennyson. 

Although the play calls for 8 female and 4 

male characters, it has often been given in con¬ 
vent schools with girls playing the male roles, 
as doctor’s gowns are worn for costumes. Plays 
a full evening. 35 cents. 

54. Rubber Boots.—M. H. Pike. Farce in 1 
act. Easy interior. Calls for 3 female and 1 
male part which is a dumb character, the part 
wholly in pantomime and can be played easily 
by a girl. Clever little piece. Time—20 min. 


32. The Day of the Duchess.—H. S. Griffith. 
Farce in 1 act. Easy interior. Twelve females. 
Only 3 or 4 prominent parts, rest all small parts. 
Time—30 minutes. 

33. The Dumb Waiter.—H. S. Griffith. 

Farce, 1 act. Scene, interior. Five females. 

Thirty minutes. A picture of boarding school 
life in which the dumb-waiter plays a strong 
part, but it breaks down at an important 
crisis. 


34. Endymion.—M. J. Warren. 

Comedy in 2 acts. Scenery unimportant. 
Twenty-three females. Costumes Greek. Writ¬ 
ten especially for a girls’ school. Easy to stage 
and effective. Time—1 Vi hours. 35c. 


35. A Love of a Bonnet.—G. M. Baker. 

Farce in 1 act. One interior. Six females. 

Thirty minutes. A laughable little play—easy. 

36. Lucia’s Lover.—B. C. Porter. 

Farce in 3 acts. Two interiors. Seven girls. 
Time—1 V 2 hours. 

Lucia, a boarding school girl, carries on a 
secret correspondence with an unknown man. 
He turns out. to be an invention of her school 
friend to curb her romantic nature. 35c. 


37. A Man’s Voice.—H. S. Griffith. 

Comedy in 2 acts. Two interiors. Six fe¬ 
males. One hour. Easy and effective. 


38-50.—A Play a Month.—A. W. Chaplin. 
Twelve 20-minute sketches for female char¬ 
acters, including appropriate entertainment for 
each month of the year. Contents: “Mad! 
Mad!” 5 girls; “A Valentine Problem,” 3 fe¬ 
males; “Pickles and Bonbons,” 4 females; 
“Because It Rained,” 4 females, etc., 35c 


51. Rebecca’s Triitmph.—G. M. Baker. 

Drama in 3 acts. Sixteen females. Scenes 
call for a kitchen, a wood and a parlor. Very 
popular. Plays 2 hours. 3oc. 


55. Comus.—John Milton. 

A masque, adapted for acting by L. Chater. 
Nine characters and chorus. Forty minutes. 
Text is accompanied with all necessary plates 
and diagrams and by full minute marginal notes 
and instructions for production. Most complete 
and helpful version. 35c. 

56. The Convention of the Muses.—E. S. 

Bates. 

Play in 1 act. No scenery required. Nine fe¬ 
males. Greek costumes. A very pretty enter¬ 
tainment suitable for any platform. Instructive 
in theme. 

57. Behind the Scenes.—G. R. Bridgham. 

Comedy, 2 acts. One interior. Twelve fe¬ 
males. Costumes, modern and colonial; 1% hrs. 

Miss Darley comes to a private school ap¬ 
parently as a teacher, but really in order to have 
an opportunity to discover the missing will of 
an uncle, former occupant of the house. Her 
researches are misunderstood and complications 
follow. 35c. 

58. The Alkestis of Euripides. See Ladies. 

59. The Antigone.—Adapted by E. Fogcrtv. 
Eleven characters and chorus. Two hours. 

Text accompanied by all necessary helpful in¬ 
formation. 35c. 

60. Bachelor Maids.—E. B. Tiffany. 

Comedy in 1 act for 6 females. Scenery sim¬ 
ple. Costumes, modern and Japanese. Thirty 
minutes. Bright and vivacious. 

61. The Bewildering Miss Felicia.—G. F. 

Sturgis. 

Comedy, 3 acts, 14 females. One interior, 1 
exterior. Costumes, period 1830. 2% hours. 

Miss Felicia comes to the sleepy town of 
Lilac and occupies her grandfather’s mansion. 
By her radiant personality she transforms the 
characters of the village. French dialect, negro, 
and country girl, comedy parts. 35c. 


[ 79 ] 



Play Catalogue 


62. Her First Assignment.—G. E. Bridham. 
Comedy, 1 act. One interior. Ten females. 

Plays 1 hour. 

Lively and funny. Young lady reporter as¬ 
sumes character of a leading society woman to 
oblige hostess, only to have the real person turn 
up later. 

63. Her Uncle’s Boots.—Mrs. M. B. Carpen¬ 
ter. 

Farce, 1 act, 7 girls. Easy interi.or Thirty 
minutes. Easy and very funny. 

64. An Irish Invasion.—A. C. Thompson. 
Comedy, 1 act. Easy interior. Eight females. 

Thirty minutes. 

Nice, little play introducing refined Irish char¬ 
acters, old country and new. 

65. The Ladies of Cranford.—M. B. Horne. 

Play, 3 acts, 13 females. Scenery easy. Cos¬ 
tumes of Victorian era. Dramatization of Mrs. 
Gaskell’s novel. The interest of piece lies 
chiefly in its characters. Plays 2 hours. 35c. 

66. A Pan of Fudge.—M. B. Simes. 

Comedy, 1 act, 6 females. Easy interior. 

Time, 25 minutes. 

A bright little boarding-school sketch. 

67. A Peck of Trouble.—A. C. Thompson. 
Comedy, 1 act. Interior scene, 5 girls, 20 

minutes. Bright and easy to get up. 

68. The Thirteenth Star.—G. E. Bridgham. 
Comedy, 3 acts, 2 interiors, 9 females, 1^ 

hours. 

The outbreak of the war takes away entire 
staff of paper, so Caroline Mason undertakes to 
run it. She takes over with it a fight against 
her fiance, who is at the head of the local mills, 
quarrels with him, runs into a strike, but all 
comes out happily. 35c. 

69. The Truth About Jane.—A. C. Thompson. 
Comedy, 1 act, 1 interior, 25 minutes, 7 fe¬ 
males. A play which does justice to the virtues 
of the athletic girl. 

70. Using the Weed.—G. J. Baker. 

Farce, 1 act, 1 interior, 7 girls, 40 minutes. 
Clarissa writes home that among other accom¬ 
plishments at school she has learned to “use 
the weed.” When her old aunt comes to rescue 
her it proves to be the “Weed” sewing machine. 

71. The Wrong Package.—H. S. Griffith. 
Comedy, 1 act, 30 minutes, 4 girls. Easy in¬ 
terior. Character, old lady and maid (sou- 
brette). 


72. Who’s to Inherit. —Comedy, 1 act, 1 in¬ 
terior, 9 girls, 30 minutes. 

Margery is a “rough diamond” who always 
speaks her mind. Miss Chatter, Miss Pry and 
Miss Nicely are an amusing trio of gossips. 

73. A Fair Encounter.— C. M. Eae. 

Comedietta, 1 act, 1 interior, 2 females, 30 

minutes. 

A battle of women’s wits. Mrs. Grenville be¬ 
comes a maid to Lady Clara to find out whether 
she is suitable for Mrs. G.’s brother. Clara dis¬ 
covers the ruse and makes Mrs. Grenville pay 
for her intrusion. Very good little play requir¬ 
ing good acting, as it is of higher grade than 
the usual school dialogue. 

Penn publications. 25c. 

74. Crowned Before Dawn.—I. A. Elyock. 

Drama, 3 acts, for female characters— time of 
Henry V of England. Characters are ladies of 
the court. Time 45 minutes. 

75. The Burglar.— H. S. Griffith. 

Comedy, 1 act, interior, 50 minutes, 4 girls. 

Two nervous old ladies have a burglar scare, 
and their niece, Penelope, helps the “burglar.” 
Easy to act. 

76. Every Girl. 

Humorous morality play, 2 acts, no special 
scenes, 1hours, 24 girls. May be in or out 
of doors. Modern and fantastic. 

77. A Fair Encounter. —C. M. Eae. 

78. A Fallen Idol.— H. S. Griffith. 

Farce, 1 act, I interior, 30 minutes, 4 females. 

A case of a girl’s chum writing Borneo letters 
to her chum and getting caught in her own trap. 

79. A Rumpus on Olympus. —M. H. Crane. 

Burlesque in 1 act, 25 minutes, 8 or more fe¬ 
male characters. Scene, Olympus, among cotton 
clouds. Costumes, Greek and modern. An 
amusing satire on all the ways of men. 

80. Cynthia Looks Ahead. —G. E. Bridgham. 

Comedy, 4 acts with short prologue and an 
epilogue, 2 interiors, 11 females, 2 hours. 

A college senior trying to decide whether to 
go on the stage or home to father, who needs 
her, falls asleep, and sees herself fifteen years 
ahead as a famous actress, but unhappy. When 
she wakes up she decides what she will do. 

81. The Ghost of an Idea.— A. Sanford. 

Comedietta, 1 act, 40 minutes, 5 female char¬ 
acters, including the ghost; several minor parts 
with a few lines each. 

Schoolgirl casts her book aside—falls asleep 
—suddenly awakened—the ghost of an idea. 
Conditioned upon early promises the spectre 
agrees to give her a grand holiday. 


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Play Catalogue 


82. The Girls of Glen Willow.—E. D. Vale. 
Camp-fire play, 2 scenes, exterior, 7 girls, 30 

minutes. 

83. The Good Old Days.—A. C. Thompson. 
Comedy, 1 act, interior scene, 11 females, 

two parts may be doubled. Costumes, modern 
and colonial; 30 minutes. 

Penelope, wishing she had lived in the days 
of great-great-grandmother, has a dream and is 
brought back to the old days of the Indians, and 
frontier life. 

84. Her Scarlet Slippers.—A. C. Thompson. 
Comedy, 1 act, simple interior, 30 minutes, 4 

girls. Clever little play and easy to play. 

85. The Jar of Olives. 

Four acts—play based on Arabian Nights— 
13 males, 3 females, but all the parts can be 
played by girls. Costumes, oriental, 40 minutes, 
3 interiors. 

86. Maids, Modes and Manners. — Amelia 
Sanford. 

Twenty or more females, with 12 speaking 
parts; 50 minutes; settings and costumes easy. 

87. 

See addenda, page 147. 

105. Eyes of Faith.—Marie Doran. 

Nine females. An ‘ ‘ Americanization ’’ play. 
(See Patriotic.) 

French. 30c. 

106. The Patriotic Girl. 

Can be played by all girl cast; 8 characters, 2 
males, 6 females. (See Patriotic plays.) 

Penn. 25c. 

107. The Arch of Success. 

Fantasy for Commencement by S. M. A., St. 
Mary’s Academy, Winnipeg, Minn. Eight girls 
and 7 symbolic characters besides. 

108. Queen Esther. 

A Flanigan & Co., 521 S. Laflin St., Chicago. 
25c. 

109. Mary Magdalen. 

Three acts. 

110. Mary Stuart and her friends. 

111. Empress. 

112. Cornelia. 

Fifteen characters and extras. 

Flanigan, Publisher. 

113. Choosing a Model.—Class day exercise, 
S. M. A., Winnipeg, Minn. 

Graduates choose the characters they prefer 
as well known women pass before them—Mar¬ 
garet Roper, Mrs. Browning, etc. 


114. The Dress Rehearsal of Hamlet. 

One act costume farce. 

Mary McMillan in More Short Plays. —Stew¬ 
art Kidd. 

Plays for Girls by dementia. 

115. Thy Kingdom Come or The Ninth 
Promise Fulfilled. 

A Sacred Heart play in two acts for large 
girls. Thirteen principal characters—no special 
costumes required. 50c. 

116. Nancy. 

A humorous play for 9 large girls, 3 acts. 
Highly recommended. 50c. 

117. The Fair Maiden’s Paradise. 

Comedy, 1 act, 6 characters. 

A. Matre, K. S. G. 20c. 

A Quiet Afternoon In a Flat. —By Rose Godar. 
Comedy, 1 act, 2 female characters, and chil¬ 
dren’s characters. 20c. 

118. Ellie Laura, or The Border Orphan. 

Three acts, 16 girls, and extras. 25c. 

119. Faculties of the Soul. —Translated from 
French by Mrs. Sadler. 

Three scenes, 6 characters. 25c. 

120. The Foundling of Sebastapol. — W. 

Tandy, D. D. 

Drama, 2 acts, 13 characters. 25c. 

121. Monsieur le Cure. —M. J. Wilton. 

One scene, 6 characters and 4 extras. 20c. 

122. Which Is Which or The Fire In London. 

-—By Lady Fullerton. 

Drama, 3 acts, 13 characters. 25c. 

123. The Talisman. —Mrs. Sadlier. 

One act, 6 characters. 20c. 

124. The Benediction. —By Rose Godar. 

A dramatic little curtain-raiser; 2 children. 
20c. 

125. Wonderful Christmas Gift, from Uncle 
Frank’s Mary. —By dementia. 

Three acts, 12 principal, and 3 male characters, 
to be taken by girls. No special costuming. 
40c. 

126. Sic Itur Ad Astra. —By dementia. 

For graduating exercises but can be used ap¬ 
propriately with slight changes for Jubilees, 
Anniversaries, etc. Fourteen leading parts. 
Takes the place of Salutatory and Valedictory. 
May be used for 7th and 8th grade classes—both 
boys and girls—if desired. 75c. 

Matre publications. 


[«i] 



Play Catalogue 


B. Herder Publications. 

127. Her Only Love. 

Drama, 4 acts, 16 characters, and extras, ladies 
of Roman court, dancers and singers. 

128. Every Man. 

Morality play. 

129. The Maid of Desenzano. —By Rev. P. A. 
Kaenders. 

Deals with the founding of the Ursuline Order. 
Twenty-four characters, 3 acts, 2 scenes each. 

Samuel French & Co. 

130. The Night of the Entertainment. —A. 
Wynne. 

Comedy, 2 acts, 2 interiors, 45 minutes, for 16 
girls—1 male character, which is played by a 
girl. 

131. A Helpless Couple. 

Three girls. Amusing sketch, over a letter. 
Ten minutes. Very easy. 

The Golden Birds, etc. —See Children’s list. 
Fantasy. —See Children’s list. 

Days We Celebrate. —See Children’s list. 


GREEK THEATRE—Plays for 

(The conventional out-of-door theatre with 
built-in Greek stage.) 

1. See Ion. —Tragedy of ancient Greece. 
(Out-door theatre list.) 

2. Alkestis of Euripides. 

Twenty characters and chorus. 

Baker. 

3. Endymion. 

Sixteen boys, 7 girls, 3 acts. 

Baker. 25c. 

4. Iphigenia in Taurus (of Euripides, Gil¬ 
bert Murray’s translation). 

Eight characters and chorus. 

Longmans Green, N. Y. 

5. Oedipus at Colomus, of Sophocles. 

Translated by Rev. Wm. S. Singleton, S. J., 
St. Joseph’s College, Philadelphia. 

Eight male characters, chorus of 15. Two 
hours. 

6. Trojan Women of Euripides. —Gilbert 
Murray. 

Eight characters and chorus. 

Longmans Green, N. Y. 


7. The Antigone of Sophocles.—Professor J. 
E. Harry. 

An acting version of this most perfect of all 
dramas. A scholarly work in readable English, 
especially adaptable for colleges, dramatic socie¬ 
ties, etc. Stewart & Kidd. 

8. Mid Summer Night’s Dream. 

Scenes laid at Athens and a wood not far 
away.—See Shakespeare. 

9. Pericles. 

Shakesperian play suited for a Greek theatre. 

10. Coriolanus. 

Shakespereian play suited for a Greek theatre. 

11. Ingomar.—Bee Out-door. 

12. Pygmalion and Galatea.—W. S. Gilbert. 

Mythological comedy in 3 acts. Five males, 

4 females, 1% hours. Grecian costumes and 
scene. 

13. The Grecian Princess. 

Four acts, 23 males, 3 females. 

Matre. 50c. 

14. Two Greek Pantomimes. 

A Greek Frieze—a sacrifical dance to be per¬ 
formed by 8 or more girls—Entrance, Garlands, 
Libation, Prayer, Appeal, Submission. ' 

15. Daphne and Appollo.—Mari Reuf Hofer. 

From 20 to 50 participants required. The 
action of the pantomime presents a complete 
dramatic story. 

Clayton Summy, 429 Wabash Ave., Chicago. 

16. Cymbaline.—Shakespeare. 

Athenian tragedy. A study in popular art. 
Tlios. Dwight Goodell, late professor of Greek in 
Yale University. 

Yale University Press, New Haven, Conn. 

17. Masque of Pomona.—See Masques. 

18. See The Galloper. 

Drama list—for a play with scenes laid in 
Greece. 

19. The genius of the Greek drama—three 
plays—the Agamemnon of Aeschylus, the Anti¬ 
gone of Sophocles, and the Medea of Euripides. 

Intended for amateur production. Rendered and 
adapted by Cyril E. Robinson. 

Oxford University Press, Humphrey Milford, 
London. 

20. Lysistrata.—Samuel French. 

An acting version of this brilliant satire on 
Athenian foibles, by Aristophanes. Four males, 

5 females, 1 child. Chorus of old men and one 
of Greek matrons—15 in each chorus. Text is 
accompanied with full outline of an effective 
color scheme for costuming. 

French. 35c. 


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Play Catalogue 


21. The Return of Alcestis. 

A one act sequel to the Greek play—Laurance 
Housman. A strong play in the Greek spirit 
and style, taking up the story of the Euripides 
play where the Greek dramatist left it. 

Twelve to 15 males, 15 to 29 females. 

French. 35c. Royalty. 

22. Phormio.—By Terence. 

Comedy, 5 acts. 

(Note. The Roman theatre was modeled after 
the Greek, only that the ‘ ‘ orchestra’ ’ was tilled 
with seats and later with a rather elaborate 
architectural background. This consisted of 
pillars and a wall, through which the doors were 
cut, and other spaces were permitted to indicate 
the separation of houses, etc.—Barret H. Clark 
in preface to English translation of Phormio of 
Terence.) 

Eleven males, 2 females. Scene represents a 
street in Athens. Costumes Grecian. 

French. 35c. 

23. The Twins.—By Plautus. 

From the Latin. Seven males, 2 females. A 
farce upon which Shakespeare founded his 
Comedy of Errors. 

Scene—A street in Epidamnus. Costumes are 
Grecian. 


* HANDICAPPED OR * * *** HOSPITAL PLAYS 

(Plays in which one or more characters play a 
static part.) 

1. The Work House Ward.—See Irish list. 
The two old men characters are in cots during 

the entire action of the play. One female part 
besides. Scene: Interior of a ward. 

2. Scene II—The Orange Walk, in Over 

There.—By J. Hartley Manners. Scene repre¬ 
sents a hospital ward, several men in cots, others 
able to hobble about on crutches, etc., one man 
in wheeled chair—Irish character. Scene, A 
hospital ward in England during the past war. 

*(Much talent has been brought to light that 

has hitherto gone to waste in finding parts suit¬ 
able to talented young amateurs physically un¬ 
able to take the conventional character in a 
play.) 

***An experiment in July, 1922, in one of our 
largest sanitariums using theatricals as a recrea¬ 
tional feature has definitely proven that they 
have a salutory effect upon the patients taking 
part and this feature has now been added to the 
sanitarium regime. 


3. The Orange Man. —St. John Ervine.—(Mc¬ 
Millan.) 

The principal character, the Orange man, is 
unable to move from his chair on account of 
rheumatism. Two other male roles and 1 fe¬ 
male. The Orange man plays the drum. 

4. Mrs. Pat and the Law. —A lame boy has a 
big part. (Plays for Small Stages—Mary Al- 
dis.) 

5. Two Crooks and a Lady. —Eugene Pillot. 
Lady invalid overcomes two people who have 
come to rob her. Plays of 47 Workshop, first 
series. Brentano. 

6 . Along the Quays. —Henri Lavedan. 

The old purveyor of books remains seated dur¬ 
ing the little play. See One-act—advanced. 

7. A Bright Morning. 

An old man who walks with the aid of a cane 
and his valet meets old lady, former sweetheart 
on park bench. (See Spanish plays.) 

8 . Coats. (See Irish plays.) 

Entire dialogue is over a dining room table. 
Two males and a waiter. (Coats in “New Com¬ 
edies/’ Lady Gregory.) 

9. Pariah or The Outcast. —August String- 
berg. 

“Static drama” for 2 male characters. See 
Advanced One-act. 

10. The Piedish. —By Geo. Fitzmaurice. See 
Irish list. Two of the characters are handi¬ 
capped—one is a feeble old man, the other is a 
lame boy. 

11. The Bachelor’s Dream. —See under En¬ 
tertainments. 

“The bachelor” sits in a big chair and 
dreams while the pageant of lovely young girls 
passes before him. 

12. See Molly’s New Year Party in “Days 
We Celebrate” list. 

Molly is a little sick girl who is visited by 
the Calendar boy and all his holidays. 

The Tony Sarg Marionette Book. —By Tony 
Sarg. 

A little book that tells how marionette shows 
are made and also how some of Mr. Sarg’s pup¬ 
pets are made. Contains two plays for home 
made marionettes. 

Baker. $1.10. 


[S3] 




Play Catalogue 


HISTORICAL AND COSTUME PLAYS 

See Early Christian Plays under Religious. 

See Columbus under America. 

1. Genevieve.—Adapted by James Esser. 

Historical drama, 6 acts, 18 males, 6 females. 

Matre & Co. 50c. 

2. The Robbers of Mt. Kulm.—Arranged by 
Anthony Matre—K. S. G. 

Historical drama in 5 acts for 14 males, 2 fe¬ 
males. Matre & Co. 50c. 

3. Jane Grey, a Nine Days’ Queen. 

Adapted from Aubrey de Vere’s Mary Tudor. 
Four acts, 15 characters. Matre. 25c. 

Mary Stuart. 

From Schiller’s tragedy. Thirteen males, 4 
females and extras. Baker, 25c. 

5. Scenes from the Life of Sir Thomas More. 

—Sister Mary Berchmans. 

Very interesting historical play—period and 
costumes of Henry VIII. Highly endorsed for 
schools. Four acts. Interiors. Four males 
More, Erasmus, Will Roper and Patterson, a 
fool.) Margaret Roper, Bess, 13 or 14 years, 
and two other female roles, and a small bit for 
a maid. Talbot Press. 

6. Louis XI.—See Boys’ list. 

7. The Jacobite.—J. R. Planche. 

Two acts, 5 males, 3 females. French pub¬ 
lisher. 30c. 

8. Charles XII.—See Scandinavia. 

9. L’Aiglon.—Rostand. (See French Play 

list.) 

The story of the son of Napoleon and Marie 
Louise. 

10. The Beau of Bath and Other One-act 
Plays.—(C. Mackay). 

Picturesque episodes of 18th century England. 
See One-act. 

11. Allison’s Lad.—B. Dix. 

In volume of plays of Civil War period in 
England, middle of 17th century. 

12. The Little King.—Bynner. 

* The child Dauphin of France—son of Louis 
XVI and Marie Antoinette—the principal char¬ 
acter, and one more small boy, both to appear 
about eight years of age. Three males, 1 female. 
Very pathetic well written play. 

13. See Shakespeare’s 

Julius Caesar. 

Anthony and Cleopatra. 


King John. 

King Richard II. 

King Henry IV. 

King Henry V. 

King Richard III. 

King Henry VIII. 

14. The Primrose Path.— Mary Robinson. 

Romantic English comedy picturing life at the 
time of Shakespeare. Interior. Twelve males, 
5 females—any number of minstrels and pages. 
One hour. Two acts. The dialogue is witty and 
gay and dances and quaint songs enliven the 
comedy. 

15. Liudolf.— A. Guggenberger, S. J. 
Historical drama of the time of Otto the 

Great. Medieval Germany and Hungary. Five 
acts, 27 males and extras, Magyar priests, sol¬ 
diers, etc. Herder. 25c. 

16. How the Shrew Was Tamed.—J. A. Rask. 

Elizabethan costumes. The play shows the 
custom of the times and the modes of punish¬ 
ment and introduces the ducking^ stool. Four 
males, 3 females. French. 30c. 

17. King Rene’s Daughter. 

A play of Denmark (1459). See One act. 

18. Man Who Married a Dumb Wife. 

Play of medieval France. 

19. See Scotch plays—Glenforsa, Cambell, of 
Kilhmor, etc. 

20. Ryland. See One act. 

21. Crowned Before Dawn. 

Play for girls period Henry V. of England. 

22. 1585 —See One-act plays. 

23. Nicollette. (See One act.) 

24. Master Pierre Patelin. 

Medieval French. See One act. 

25. The Jacobite and the Lady. —Booth Tark- 

ington. See One act. Harpers. 

26. Waterloo. See One act. 


*Note to The Little King—Acting right re¬ 
served. More suitable for a public reading than 
to be acted. The scene is the temple, where the 
sweet young boy Dauphin is imprisoned with two 
cruel jailors, Antoine Simon and his wife Jeanne. 
The wonderful spirit of the little prince is 
shown upholding his faith and his noble blood. 
An excellent “historical” play.—Witter Byn¬ 
ner, Mitchell Kennerly. 


[ 84 ] 




Play Catalogue 


27. The Nelson Touch. See One act. 

28. Oliver Goldsmith. See Drama Advanced. 

29. Beau Brummel.—See Drama Advanced. 
See Irish list—Padraic Pearse, Irish History 

plays, etc., etc. 

See American and Patriotic list for American 
Historical plays. 

30. Disraeli.—(Parker.) French. 

31. David Garrick. See Advanced Dramas. 
See plays marked historical in text of cata¬ 
logue. 


HOME PLAYS 

Plays that can be staged in any ordinary room 
or house without platform or Stage accessories. 

1. A Borrowed Umbrella. 

One act, 1 male, 1 female. See One act Easy 
plays. 

2. Love in a Railway Train. 

Scene, any room, anywhere. One male, 1 fe¬ 
male. (Stayton) French. 30c. 

3. Before the Play Begins—Georgia Earle. 
Ideal play for “home” use. Two males, 1 fe¬ 
male. Fifteen minutes. Denison. 15c. 

4. The Last Rehearsal.—Irene Jean Crandall. 
Comedy in 1 act, 2 males, 3 females; 25 min¬ 
utes. Scene is a room where a quarrel between 
petted star and obstinate author is staged—also 
very suitable. Denison. 25c. 

5 to 21. Home Plays for Ladies: 

1. Part 1—School for Daughters—14 females. 

2. Mrs. Willis’ Will—5 females. 

3. Duchess of Mansfeldt—6 females. 

Part 2—Slighted Treasures, petite comedy—4. 

5. Slight Mistake, farce 5. 

6. Rosiere, comedy—10. 

7. Who’s to Inherit?—comedy, 9. 

8. Lina and Gertrude—6. 

9. Wonderful cure—4. 

10. My Aunt’s Heiress—11. 

11. Part 5—Quarrel of the Flowers—10. 

12. Choosing a Bride—6. 

13. My Daughter’s Daughter—5. 

14. Part X—Petticoat Perfidy—3. 

15. Fair Encounter—2. 

16. Fast Friends—2. 

17. Narrow Escape—2. 

Ten different volumes—three or more plays 
in each—40c each. (French.) 

22. Cross Questions and Crooked Answers. 

Two females. 


23. Cheerful and Musical. 

Two females. 

24. Eternal Masculine. 

Two females. 

25. Broken Idylls. 

Three females. 

26. The Two Miss Ibbetsons. 

Two females. 

The above 45c each. French. 

27. A Lady in Search of an Heiress. 

Four females. 

28. Such Is Fame. 

Four females. 

29. At Cross Purposes. 

Seven females. 

30. Number Seventeen. 

Two females. (French.) 

31. Bonny Bell. —(Vogelges and Farmer). 
Musical play for young folks and children. 

Seven principals and any number of extras. So 
simple that it can be put on in any parlor. 
Denison. 15c. 

32. Comedies for Young Folks. 

Ten little plays suitable for home perform¬ 
ance. (Baker.) 

33. On a Kentucky Staircase —Cecilia M. 
Young. (See Kentucky.) 

34. Letter of Introduction.—W. D. Howells. 

Three males, 2 females. A light farce easy to 
stage; good natured satire on an Englishman. 
French. 35c. 

35. Borrowers’ Day. —See Farces. 

36. Mrs. Hoops-Hooper and the Hindu. 

Living room interior. Two males, 10 females. 
Can be played entirely by women. See One-act. 
Denison. 

37. Mrs. Jenkins’ Brilliant Idea. 

Can be played without any curtain or any 
screen separating audience, etc. See plays for 
ladies. Eight females. 

38. Not a Man in the House. 

Parlor scene. Two acts. Five females. See 
plays for ladies. 

39. Sewing for the Heathen. 

Can be played in any room without any cur¬ 
tain, etc. See plays for ladies. Nine females. 

40. The Fascinators. 

Any room fixed to look like a school room 
where lessons are given in the art of fas¬ 
cinating.” Thirteen females. Very funny. 
Dension. 25c. 


[ 85 ] 



Play Catalogue 


41. A Likely Story. —W. D. Howells. 

Farce. Simple room for setting. Two males, 

2 females. One act. French. 35c. 

42. Five O’clock Tea. —Howells. 

Farce in 1 act for 6 males, 8 females. An 
ideal parlor comedy for a well balanced cast of 
young men and women. French. 35c. 

43. Our Best Society. —Irvine Browne. 

French’s Parlor Comedies—25c each. 

Four acts, 5 males, 5 females. 

44. How She Loves Him. —Dion Boucicault. 

Five acts, 10 males, 4 females. 

45. Snowed In.—J. E. Wylie, Jr. 

Three acts, 5 males, 3 females. 

46. Weak Woman. —H. J. Byron. 

Three acts, 6 males, 3 females. 

47. Married in Haste.—H. J. Byron. 

Four acts, 8 males, 3 females. 

48. Our Boys.—H. J. Byron. 

Three acts, 6 males, 4 females. 

49. Which? —Bolton Eowe. 

One act, 1 male, 2 females. 

50. My Father’s Will .— Jacob Abaranell. 

One act, 3 males, 2 females. 

51. See Dickens plays. 

52. The Dress Rehearsal. 

Two males, 4 females. See One-act plays. 
Excellent for a parlor entertainment. Simple 
setting. Penn. 25c. 

53. Parlor Matches. 

Short play but adapted to a “ parlor ’ ’ stage. 
See in Short Plays, and also in drama, “Medium 
Difficulty.’’ 

54. Grandmother’s Rocker. —Tracy D. My- 
gatt. 

Twelve characters, male and female. Scene, 
an old room in an old house. Costumes old 
fashioned. Can be played by grownups or chil¬ 
dren and to any audience provided it have sym¬ 
pathy and imagination. May be produced by 
amateurs without payment of royalty. 

Baker. 35c. 


HOME PLAYS 

The following plays by John Kendrick Bangs 
are perfect plays for Parlor Theatricals. 

A Chafing Dish Party. 

Four males, 3 females. One act. 

The Fatal Message. 

Five males, 4 females, 1 act. A screamingly 
funny amateur rehearsal in Perkins’ library. 

The Bicyclers. 

One act, 4 males, 3 females. Mr. Perkins 
learns to ride a bicycle. The scene is the “par¬ 
lor” in the Perkins home. Very funny. Lines 
are full of laughs. Even the most staid and 
prosaic would enjoy this splendid farce. 

A Dramatic Evening. 

One act, 4 males, 3 females. The Perkins 
have given over their house for a rehearsal of 
the stage-settings of a play. Very good. 

First Aid to the Injured.—Van Tassel Sut- 
phen. 

One act. Scene, a hall in a goftf club. See 
One-act plays, 2 males, 4 females. 

Mothers on Strike—Carl W. Pierce. See One- 

act. 

The above all published by Baker. 


HUNGARY 


Dramatic recitation in Scrapbook Recitation 
series number 8 : Heroism of the Hungarians. 
Denison. 35c. 

After the Honeymoon. 

Hungarian farce in 1 act. Wolfgang Gyalui. 
One man, I woman. 

French. 35c. 


INDIAN- AMERICAN 


1. Strongheart.—See drama. 

A representative American drama. 

French. 

2. John Ermine of the Yellowstone. 

Drama of an Indian white boy who was 
adopted by a tribe and later, in manhood, fell 
in love with a Colonel’s daughter. Written 
upon Remington’s story of that name. Good 
play—period of Custer—splendid Indian parts. 
John Ermine, as played by James K. Hackett, 
a very fine, pathetic hero. Difficult. 


[Stf] 



Play Catalogue 


3. The Capture of Ozah. 

One act, 4 characters. 

Ozah, Peacemaker of the Senecas, singing and 
weaving with her friends, “wants no love 
songs” and laughs at Orijia, who follows the 
love song of her lover. Later she has two 
suitors, and at last comes Ateakea, who captures 
her. 

French. Complete with music, 30c. 

5. Yagowanea. 

Play, 1 act, 8 characters. Play of Niagara 
Falls, to whom the Indian girl turns for its 
singing music as companion, when her tribe 
turns against her. 

French. 30c. 

6 . Hiawatha. —F. Holbrook. 

Twelve juveniles, 25 extras. Indian dances 
featured. 

Houghton, Mifflin. 

7. In the Valley of the Mohawk. 

Musical drama, 3 acts. See New York. 

8. The Passing of Hiawatha, in Plays of 
Pioneers. —C. Mackay. 

Fifteen principal characters. 

Holt. 

9. The Arrowmaker’s Daughter. —Adapted by 
Grace Smith and Gertrude Nevils. From Long¬ 
fellow’s Hiawatha. 

French. 

10. Hiawatha’s Childhood—in The Snow 
Image and other plays. 

Thirteen males, 14 female parts (including the 
story of the Poplar tree. Suitable for Arbor 

day, the Spirit of Memorial day, etc.). 

Baker. 35c. 


EAST INDIAN—Hindoo 

1. A Night at the Inn.—Dunsany. 

One act play. Tragedy. Full of East Indian 
atmosphere, although the scene is a lonely inn 
in England. Three Indian idols pursue the men 
who have stolen jewels which made their eyes, 
and the men have the swift retribution of the 
wrath of the outraged gods. Mysterious and 
weird play. 

Sunwise Turn. 

2. The Drums of Ocde.— Austin Strong. 

(David Belasco, Belasco Theatre, N. Y.) Won¬ 
derful little play of East Indian life—during an 
Indian uprising about 60 years ago. (See one- 
act—Advanced.) 


IRISH PLAYS 

1. Deidre of the Sorrows.—Synge. 

Tragedy, 3 acts. Difficult for most amateurs 
and some lines should be cut. Should be given 
by well-trained group who have a great feeling 
for poetry. “The intense reality of the charac¬ 
ters drawn from a people allied by untamed 
natures to their prototype of legend, combine to 
give this work an intensity unequalled by any 
other tragedy written—the greatest modern ver¬ 
sion of the Gaelic Classic.”—Boyd. Five males, 
1 female and minor parts. 

Baker. $1.00. 

2. Deidre.—W. B. Yeats. 

Four principal male parts—one female and the 
three musicians who speak and interpret the 
play in the manner of the Greek chorus. Poetic, 
full of strong, primitive language. Very effec¬ 
tive, with the Irish keen at the close. 

3. Cathleen n’Houlihan.—Yeats. 

A very beautiful, effective tragedy. Three 
males, 2 females. 

McMillan. 

*4. On the King’s Threshold.—W. B. Yeats. 

One act, 12 males, 4 females. Play might be 
cut from ‘ ‘ There is leprosy among the plates, 
etc.,” leaving out the speech where Sean taunts 
the monk and makes light of religion, etc. Play 
is a beautiful plea for Poetry. One hour. 

McMillan. 

5. On Baile’s Strand.—Yeats. 

Male- characters only. One page should be 
cut. 

6 . The Shadowy Water.—Yeats. 

Noted for its language and atmosphere, fol¬ 
lowing Maeterlink’s ideal of symbolism. In this 
play Yeats claims to rid the drama of its the¬ 
atricality, expressing “in art the core and spir¬ 
itual essence of life.” 

7. The Yellow Bittern, Clan Falvey and the 
Hermit.—Daniel Corkery. 

One act plays in one volume. 

Talbot Press. Fisher, Unwin, London. 5/ 

8 . The Fire Bringers.—Moira Cheavasa. 

A play in 1 act. A drama of ancient Erin. 

9. The Labor Leader.—Daniel Corkery. 

Play in 3 acts, 13 males, 2 females (character 

parts') and extra men, workmen, etc. 

“The ‘Labor Leader’ ranks with the best 
dramatic work that has been done in Ireland of 
late years.”—Freeman’s Journal. 

“Definite dramatic interest, character draw¬ 
ing is good, the dialogue natural, yet forcible.” 
—Studies. 


[ 87 ] 




Play Catalogue 


10. The Hook in the Harvest. —Eev. P. A. 
Doyle, O. S. A. 

Drama, 3 acts—a true picture of Ireland in 
the times of the Evictions. The play takes place 
in 1852. There is a scene which should be an 
excellent revelation to those who have been 
fed up on the Irish plays, where a boy is forced 
to be a priest. The scene of The American 
Wake is interesting and the entire play is 
thrilling. The old woman of the house must be 
able to speak Gaelic. There are 6 male parts 
and 3 female, and several interior scenes. There 
is a fee for performance, payable to publishers. 

Maunsel. 1 / per copy. 

11. Crusaders. —Bernard McCarthy. 

A play in 2 acts. Splendid play. Very act¬ 
able, well written Irish play, full of wit, splen¬ 
did character drawing and with remarkable 
dramatic feeling throughout. Could only be 
handled by experienced group. An Abbey 
Theatre product. Eleven male characters, 2 fe¬ 
male, 2 interiors. 

Maunsel. 1 / 

12. Patriots. —Lennox Eobinson. 

“The social criticism of which it is the vehicle 
is directed towards the elements that are firmly 
rooted in contemporary Irish life. But time, 
which made life a tragedy for James Nugent, 
has disproved Lennox Eobinson .’’ — Lloyd 
Morris. 

Ten males, 3 females, 3 acts, 2 interiors. 

Maunsel. 1 / 

13. The Dreamers. —L. Eobinson. 

Historical play; tragedy of Emmet; uprising 

of ’98. 

14. The Twisting of the Kope. —Douglas 
Hyde. 

Irish folk play. 

(Can be obtained at Irish Industries depot, 779 
Lexington Ave., New York.) 

15. The Foam Maiden. —Constance D’arcy 
Mackay. 

Irish folk or fairy play—charming. See Folk 
plays. 

16. The Canavans. 

Three acts, 3 males, 2 females. Costumes, 
Elizabethean period. A quaint, fantastic com¬ 
edy built on the Irish national hate of the Tu¬ 
dors. Humor is rollicking—a few distasteful 
lines may be cut. In Irish Folk History Plays.— 
Gregory. 

Baker and French. 

17. The Twig of Thorn. —M. J. Warren. 

Irish fairy play. Two acts, 6 males, 7 females. 

Costumes, of the Irish country-side. One in¬ 


terior. Time, 1 hours. Suited for school per¬ 
formance. 

A study of Irish folk lore in the manner of 
Yeats. 

Oonah breaks the first blossoms of the thorn 
tree at the cross roads and puts herself in the 
power “of the good people.” The minstrel, 
Aileel, takes the curse upon himself, saving 
Oonah for her lover. Very pretty. 

Baker. 75c. 

18. The Dragon.—By Lady Gregory. 

A fairy play and 3 act comedy. Whimsical, 
full of quaint humor. Eight males, 4 females, 
and extras. 

Baker. 

19. Iosagan.—By Padraic Pearse. 

See Plays for Boys. 

20. The Master.—By Padraic Pearse. 

See Plays for Boys. 

21. The Singer.—By Padraiq Pearse in Col¬ 
lected works. 

‘ ‘ His plays and poems are prophetic of suffer¬ 
ing. These plays and poems are beautiful, with 
a faith in the destiny of the poor and oppressed 
and in the power of self-sacrifice to redeem the 
travailing world.”—Eobert Lynd. 

Maunsel. Plays can be had in paper covers, 
separately, at 1 /6. 

22. Riders to the Sea.—Synge. 

A tragedy. 

Full of all the tragic elements. The old 
mother has the difficult and strong role of the 
play. Three female and 1 male, principals, 
extras. The only play of Synge which is not 
tinctured with Beaudelaire and other coarse 
French dramatists. A beautiful acting play. 
Eequires good Irish accent. 

Maunsel. Baker. $1.00. 

23. The Hard-Hearted Man.—Seumas Mac- 
Manus. 

Sold at Irish Industries depot, 779 Lexington 
Ave., New York. 

24. The Building Fund.—A satire by Wm. 
Boyle. 

One of the newer Irish plays so much in vogue, 
showing characters for which an audience can 
feel little or no sympathy, but with characters 
excellently well drawn, clever drama technic. 
A miserly son and scheming daughter are disin¬ 
herited by shrew of a grandmother who leaves 
her fortune to the parish building fund. 

25. Damer’s Gold.—Lady Gregory. 

Of the same type as above, but good play and 
good character work—a vein of humor running 
throughout. 


[ 88 ] 



Play Catalogue 


26. The Tinker and the Fairy.— Douglas 
Hyde. 

(Irish Industries Depot.) 

27. The Marriage.— Lady Gregory and Doug¬ 
las Hyde. 

(Irish Industries Depot.) 

PLAYS BY LADY GREGORY 

(In Seven Short Plays.) 

28. The Goal Gate. 

Powerful little tragedy. Two males, 1 female, 
1 exterior. 

French and Baker. 

29. The Rising of the Moon. 

Four males. Artistic little Irish drama com¬ 
pressed neatly in 1 act. One exterior. 

French and Baker. 

30. Spreading of the News. 

Comedy, 1 act, 7 males, 3 females, 1 exterior. 
On the effect of gossip. 

French and Baker. 

31. Hyacinth Halvey. 

Satirical comedy, 4 males, 2 females. 

French and Baker. 

32. The Jack Daw. 

Comedy, 4 males, 2 females. Very funny. 
French and Baker. 

33. The Travelling Man. 

A morality. 1 male, 1 female and a child. 
French and Baker. 

34. The Workhouse Ward. 

Comedy, 2 males, 1 female, interior. 

French and Baker. 

36. Coats. 

Three males. See Plays for Male Characters. 
French and Baker. 

37. Irish Folk History Plays. 

Written in the idiom and the manner of the 
people, and including The Canavans mentioned 
above. 

French and Baker. 

38. White Cockade. 

A good play. Period of Sarsfield and James 
II, for 10 males, 2 females. 

Owen Kelleher must be able to sing. For ad¬ 
vanced amateurs, as Sarsfield and James are 
good parts, requiring intellectual authority in 
acting. The part of Lady Dereen is symbolic. 

39. Dervogil —in this volume— is also a very 
worthy little play. 

French and Baker. 


40. Sweepstakes of ’98.—John Masefield. 

See Plays for Male Characters. 

41. My New Curate. 

Dramatization of Canon Sheehan’s famous 
work. 

Matre. $1.00. 

42. Duty—and Other Irish Comedies.—Seu- 
mas O’Brien. 

“The scintillating play of Irish repartee is 
done with artistic proportionateness. It is not 
boisterous banter, though in the staging of the 
scenes, a manager, searching after grotesque 
farcicalities and misrepresenting the purport of 
these comedies, might be tempted to turn the 
characters into rollicking buffoons. The satire, 
even when directed towards social oddities, is 
keen. ’ ’—America. 

Little, Brown. $1.25. 

43. The Drone—Comedy.—Rutherford Mayne 
(Maunsel). 

A family parasite who pretends to have made 
a wonderful discovery on a pair of bellows 
shows a master hand when his brother is about 
to be sued for a breach of promise. The play 
portrays with sardonic humor the avarice of the 
dour Scotch-Irish farmer, his pride in his family, 
his unwillingness to be beaten in a bargain. 

44. The Turn in the Road.—Rutherford 
Mayne (Maunsel). 

Seven males, 3 females. Excellent acting play. 

A Puritanical father who curbs his son’s love 
of music and at length turns him and his violin 
out on the road. 

45. The Troth.—Rutherford Mayne (Maun¬ 
sel). 

A tragedy. A “troth” between a Catholic 
and a Protestant, victims of a brutal landlord, 
to make away with him and the story of the 
deed. 

46. Red Turf.—Rutherford Mayne (Maunsel). 

One act, 3 males, 1 female. One interior. Good 

study for powerful character drawing. Play is 
very morbid and tragic—a tale of the land feud 
in Galway. 

The first three plays are north of Ireland in 
locale. Mayne’s plays are not distinguished for 
plot but for well drawn character. “Mayne 
seeks to create the effect of extreme naturalism 
and illusion of life, conceived not in terms of 
the theatre.”—L. Morris. 

(Maunsel) also with following in one volume, 
five plays: 


[ 89 ] 





Play Catalogue 


47. The Country Dressmaker. —George Fitz- 
maurice. 

This is called a comedy, but the part of Julia, 
whose history gives the play its title, is the 
tragedy of helpless fate. Julia, a strong part, 
excellent leading juvenile, and 3 fine character 
parts for men. The play deals with old country 
match-making and with the exception of some 
very vulgar family quarrel scenes, the play would 
prove a very satisfactory vehicle for any ama¬ 
teur society to undertake. Fitzmaurice’s dia¬ 
logue always requires cutting. 

48. The Piedish. —Fitzmaurice. 

One act story of an old man who lived solely 
for his art and wdien his daughter asks him to 
send for the priest “to make his soul” he ex¬ 
claims he cares nothing for that; and the only 
false note in the otherwise good play and char¬ 
acterization is in the speech when the priest 
consigns the old man’s soul to hell. 

The Moon Lighter. —(See at end of list)— 
(Maunsel). 

49. — The Road to Connaught. —Lord, S. J. 
(See Art plays, one act.) 

Play of the time of Cromwell for 2 males and 

1 female. 

50. A Princess of .Meath.— Arranged by 
Ursulines of St. Teresa. 

Early Celtic Play—for 30 girls. One exterior, 

3 interiors. 

Young & Co., New York. 


Plays by Samuel Lover: 

Published by French. Each 30c. 

51. MacCarthy More. 

Period of 1700-87. Comic drama in two acts 
for 7 males and extras, 4 females, fishermen, 
soldiers, etc. Eight scenes. 

52. White Horse of the Peppers. 

Period 1090. Twelve males, 12 females, 
“comic drama” in two acts. Five scenes. Time 
—1 hour, 15 minutes. 

53. Rory O’More, 

Early 18th century “comic drama” in 3 acts. 
Ten males, 7 females. Several scenes. 

54. Kathleen Mauvourneen. 

Drama in 4 acts for 11 males, 4 females. 


BOUCICAULT DRAMAS 

55. The O’Dowd. 

Three acts. Fourteen males, 8 females. 

56. The Coleen Bawn. 

Drama in 3 acts, 10 males, 6 females. Scenery, 
exteriors and points at the lakes of Killarney. 

57. The Shaugran. 

Three acts, 8 males, (5 females. 

58. O’Neill the Great.—N. B. Clarke. 

An old fashioned play about Shane O’Neal and 
the wars under the regime of Elizabeth. There 
are several battle scenes. Eighteen males and 
2 females, with extra ladies of the court and 
soldiers and attendants. 

59. The Peep O’ Days Boys or Savourneen 
Deelish. 

Melodrama in 4 acts, 19 ipales, 7 females. All 
scenes exteriors but one. Could be given out of 
doors. Old fashioned Irish drama. 

60. Ireland as It Was.—J. H. Amherst. 

Two acts. 8 males, 3 females. Several scenes. 

61. Wild Irish Girl. 

Three acts. (See Poland). 

62. Katty O Sheal.—James Pilgrim. 

Farce in 2 acts, 5 males, 4 females. 

63. The Irish Lion.—,T. B. Buckstone. 

Farce in 1 act for 8 males, 3 females. 

64. Shandy Maguire.—James Pilgrim. 

Melodrama, 2 acts; several scenes; 11 males, 

8 females and extras. 

65. Green Bushes.—By J. B. Buckstone. 

A play of 1745 in Ireland, in 3 acts, 19 males, 
8 females. 

66. Nora Crenina.—Ed. Stirling. 

One act melodrama for 5 males and 2 females. 

67. That Rascal Pat.—Baker & French. 

One act, 3 males, 2 females. 

68. A Gentleman from Ireland.—Fitzjames 

O ’Brien. 

Comedy in 2 acts for 5 males, 3 females. 

69. Paddy the Piper. 

Comedy in 1 act, 8 males, 3 females. Six 
scenes. 

70. Pyke O’Callaghan, the Irish Patriot. 

Time—conclusion of the Irish rebellion; scenes 
laid in Wicklow; two acts; several scenes; 8 
males, 2 females. 

French publications. 


[ 90 ] 




Play Catalogue 


71. Handy Andy.— W. R. Floyd. 

Two acts, 10 males, 3 females. Several 
scenes. 

* 72. The Irish Agent.— B. F. Moore. 

Play in 4 acts for 7 males and 3 females. 
Scenery not difficult. Plays a full evening. 

A typical Irish drama, full of characteristic 
wit, humor and pathos. Tighe Murphy is a 
capital part, Kate Hennessy and Mary O’Neil 
admirable ladies’ parts and Shaun Brady a 
strong, heavy character. 25c. 

* 73. Innisfail. —R. Quinn. 

Drama of Irish life in 4 acts for 7 males and 
3 females. Scenery not difficult. Costumes of 
the period. Depicts Irish patriotism, wit, senti¬ 
ment with truth and vigor. Character of Felix 
is an admirable one, the player assuming many 
disguises in the course of the action. Effie 
(lead) and Mary Anne, soubrette, both good. 
Benner (heavy) and Conn o’ the bogs, heavy- 
comedy, effective. 

* 74. A Bit of Blarney. —Fitzgerald Murphy. 

Play in 3 acts, 9 males, 2 females. One ex¬ 
terior, 2 interiors. Time—2% hours. Rody the 
Rover is near relation to Boucicault’s Conn and 
Shaun. It acts itself. 

* 75. Faugh-a-Ballagh. — (Also called The 
Wearing of the Green.) —B. F. Moore. 

Romantic Irish play in 3 acts for 9 males and 
2 females. Scenery varied but simple. Easy and 
effective to act and true and sympathetic. All 
characters well drawn, both comedy and serious. 

* 76. Captain Jack or The Irish Outlaw.— 
B. F. Moore. 

Patriotic Irish drama in 3 acts for 7 males 
and 4 females. Costumes of period of 1867, mili¬ 
tary and picturesque. Scenery, an interior and 
exterior. Play turns upon Ireland’s struggle 
for political freedom. All the chief characters 
are excellent parts. 

* 77. Shamrock and Rose. —J. E. Murphy. 

A romantic drama of Irish life during the re¬ 
bellion of ’98. Seven males, 3 females. Time— 
2 1 /4 hours. Costumes and scenery not difficult. 
Every part good. 

**78. Mavoureen. —Louis Parker. 

Period of Charles II, who figures prominently 
in play. 

Plays published by Penn. 

That Rascal Pat —Listed above. 

Pat takes service with two men at once and 
by mixing up their property gets them and a 
lady into a comical tangle. 25c. 


* Baker publications. 

** See Drama list. 


Handy Andy.—Also mentioned. 

Irish comedian piece. The blunders, bravery 
and rich humor of Andy, the foundling, who 
turns out to be a duke, makes the play. 

79. The Heart of Paddy Whack.—See Drama 
list. 

80. The Romance of Athlone.—Play used by 
Chaunccy Olcott. American Play Co. 

81. Machusla.—Rida Johnson Young. 

The story of a race horse, a romance, much wit 
and several good songs interspersed in this play. 

American Play Co. 

82. Peg o’ My Heart. 

Peg is a droll young thing who has been 
brought up by a dreamer of a father. She capti¬ 
vates the heir to a large fortune, but makes 
many funny mistakes before she can get used to 
“society” ways. Large part for capable actress. 

French. 

83. Four Sticks of Dynamite. —Mary Lupton 
O’Callaghan. 

Irish play in 1 act. Three males—one a boy 
of 10 years, and 2 females. The scene is laid 
during the present time in a fisherman’s cottage 
in north Donegal. Action follows action quick¬ 
ly, with many thrills, concluding wdth an excit¬ 
ing incident where the daughter is arrested for 
carrying a concealed weapon. Dialogue is nat¬ 
ural, interesting and bright. Costumes and 
stage setting easy. Matre & Co. 

84. The Lost Leader.—Lennox Robinson. 

The story of the play is based on the tradi¬ 
tion current in many parts of Ireland that Par¬ 
nell is still living; that during his supposed ill¬ 
ness friends spirited him away, etc. Three acts, 
11 males, 2 females. One interior, 1 exterior. 
In the year 1917. The most widely discussed 
drama in the repertoire of the Irish Players. 
Permission and mss. controlled by Wm. Harris, 
Jr., New York. 

Birthright.—T. C. Murray. 

A play founded on the story of Cain and 
Abel. Two acts. Maunsel. 

The Orangeman.—St. J. Ervine. 

Pictures humorously a religious bigot—a 
Protestant—and his persecuted family who 
chafe under his narrow intolerance. Three males, 
1 female. In “Four Irish Plays,” Baker, $1.85. 

88. The Dream-Physician.—Edward Martyn.* ** 


*Edward Martyn in the face of opposition and 
unpopular literary sympathy has been unwear- 
in gly active in promoting an Irish drama inde¬ 
pendent of the folk-play; he has always op- 


[ 91 ] 






Play Catalogue 


A play in 3 acts. Comedy. Six males and 3 
females. ‘‘A special interest attaches to the 
work with which he has broken a lengthy silence 
in order to indulge his humor at the expense of 
such easily recognizable types as George Au¬ 
gustus Moon. This figure cannot fail to appeal 
to a public familiar with his prototype’s auto¬ 
biographical narrative of the Irish Literary Re¬ 
vival.” 

Talbot. 

89. Maeve. —Ed Martyn. 

A psychological drama in 2 acts for 2 males 
and 3 females. Beautiful play. “Dramatically 
conceived and in its high moments instinct with 
passionate emotional expression.”—Morris. 

90. The Heather Field. —Martyn. 

Written upon a certain symbolism. Garden 
Tvrell goes mad when his little son brings him 
a sprig of heather from the mountains, which 
he has set his heart upon reclaiming. 

Talbot. Each 2 shillings. 

91. The Kingdom Maker. —Seosamh O’Neill. 

Play in 5 acts. 

92. Spring and Other Plays. —T. C. Murray. 

93. The Last Feast of the Fianna. —Alice 
Milligan.. 

The Abbey Theatre, Dublin. 

94. Fiddler’s House. —Padraic Colum. 

Originally written and produced under the 

title of “Broken Soil.” A father who loves his 
fiddle more than land or family gives up his 
home and his daughter’s happiness to wander on 
the high roads. Very actable play—suitable to 
advanced amateurs. 

95. -The Land. 

Called an agrarian comedy; it is more a trag¬ 
edy of the Ireland whose children leave the old 
soil to work that of America. 

96. * Thomas Muskerry. 

A sad, bitter satire. Thomas Muskerry, the 
leading character, has been called “a village 
King Lear.” A powerful play, suited only to 
the best acting talent. 

97. * The Miracle of the Corn. —See Miracle 
plays. 

posed the theory of the “peasant drama” and 
peasant dialect and he draws his characters from 
the middle and upper classes of Ireland. He has 
been called the Irish Ibsen—his manner and 
technic follows closely the Ibsen style. Edward 
Martyn was the founder of the Irish Literary 
Theatre. 

* All by Padraic Colum. 


98. The Revolutionist.—Terence MacSwiney. 

Talbot & Co. 

Five acts, 14 males, 3 females. 

99. Kevin Barry.—Rev. J. Sheridan. 

Four acts. Eighteen males, 7 females, 1 child 
and extras. True incidents from the life and 
tragic sacrifice of the young boy patriot beauti¬ 
fully woven into a play. Royalty, $25. 

Rev. J. Sheridan, St. Viator’s College, Bour- 
banais, Ill. 

100. * The West’s Awake.—J. Malachi Mul- 
doon. 

Three acts, 12 males, 3 females. Several 
scenes. A thrilling national drama of the days 
of ’98. 25c. 

101. * The Red Redeeming Dawn.—J. Ma¬ 
lachi Muldoon. 

Drama in 3 acts for 9 males and 3 females. 
A sequel to the above. 65c. 

102. The Curse of the Country.—Thos. King 

Moylan. 

Eleven males, 3 females, and extras for school 
students, police, crowd, etc. An interesting play, 
actable, good climax, etc. “Oh, the tragedy of 
it, the tragedy of the open mouth and the idle 
hand, the tragedy of the speech that has become 
automatic—the tragedy of our wasted, years.**” 
Amateurs must obtain permit from publishers 
for public performance. 

*James Duffy & Co., publishers, Westmoreland 
St., Dublin. 

103. The Keeper of the Lights.—Frank J. 

Hugh O’Donnell. 

A play of Easter week of 1916 in Kerry. 
Eight males, 2 females and extras for volunteers. 
A tragedy. The mother goes pitifully mad at 
the climax of the play. A remarkably fine be¬ 
ginning to the play. Particular acting fees and 
permission for production must be obtained from 
the publisher, Duffy. 

104. Sable and Gold.—(Maurice D’Alton). 

Duffy. 

105. Ulstermen.—Arnold Marsh. 

Three acts, 10 males, 3 females. Well written 
actable play picturing Belfast in 1914. “If 
therefore, Ulstermen have never in fact subsi¬ 
dized a so-called Sinn Fein paper in order to 
provide themselves with ammunition against 
Sinn Fein there is still plenty of justification for 
making up a story in which they do.”—(Note 
to the play by the author.) 

Maunsel, Dublin. 


*Duffy. Fee for performance. 

** From the Play. 


[ 92 ] 





Play Catalogue 


106. Lord Edward. —M. McD. Bodkin, K. C. 
Tragedy in 5 acts for 15 males, 2 females and 

2 children. Talbot. 

107. Knocknagow. —By R. G. Walshe. 

Based on the Irish novel by Chas. Kickam. 
Three acts, 14 males, 4 females, students, po¬ 
lice, etc. 

Talbot, Dublin. 

108. Malachi’s Daughter. —T. W. Kerrigan. 
Three acts, 8 males, 1 female, and extras for 

lady attendants, monks, warriors. An historical 
play of the 9th century when Malachi was king of 
Meath and afterwards high king of Ireland. Very 
dramatic, interesting play. Rights reserved. 
Talbot. 

109. The Blackleg. —Michael F. Waldron. 
Tragedy in 1 act. True picture—but an awful 

one— of the tragedy in one home on account of 
brutal landlordism. 

110. The Rising Generation. —Bernard Mac- 
Carthy. 

Satirical comedy. Three acts, 5 males, 2 fe¬ 
males. Cleverly constructed, brilliant little play. 
Splendid characterizations. 

Talbot, Dublin. 

111. On the Run. —Michael John McCarthy. 
An incident of 1920. Little gem. Comedy. 

One act, 4 men, 1 female, 1 interior. 

Talbot, Dublin. 

112. Red Owen. —Dermot O’Byrne. 

The story of Red Hanrahan. Fanciful play. 
Three acts, 6 males, 2 females, several men and 
lads., women and girls extra. 

Talbot, Dublin. 

113. The Countercharm. —Bernard Duffy. 

One act, 2 males, 3 females. Very good 

comedy—clever lines—well contrasted charac¬ 
ters. Requires advanced amateurs. Application 
for playing to Irish Playwrights’ Association, 
Abbey Theatre, Dublin. 

114. The Parnellite. —Seumas O’Kelly. 

Sold by Duffy & Co. 

115. Pagans. —By Thomas MacDonagh. 

A modern play in two conversations. 

Talbot, Dublin; Fischer, Unwin, London. 

116. The Moonlighter.— George Fitzmaurice. 
The sad story of the rising in the eighties of 

the last century. 

Maunsel. 

117. The Countess Cathleen. —Yeats. 

In Vol. II, Dramatic Poems. 

Macmillan Co. 

118. Irish Miracle Play, Etc. —See Gaelic list. 


119. The Coming of Geraldine.—By a member 

of Presentation Order, St. Michael’s, N. Y. 

Drama. Five acts, for convent schools. Can 
be played by all girls as one male member of 
cast sits all during the play in a Morris chair 
with robe over knees and feet. Ezekiah, the 
Quaker, can also be played by girl. Twelve 
girls besides and chorus. Music accompanies the 
text. 

419 W. 33rd St., N. Y. $1.00. 

120. My Irish Rose.—W. B. Hare. 

Comedy drama, 3 acts, 6 males, 6 females, 2 1 /j l 
hours. One exterior, 1 interior. 

The story of an Irish aristocrat who marries 
a little country girl against the advice of his 
fashionable friends. There is also a sub-plot— 
the story of a brave Irish exile. The part of 
Rose offers great opportunity for clever ingenue. 
Every part is good. 

Denison. 35c. 

121. The Image.—Lady Gregory. 

A play, symbolic in its intent, although to all 
purposes a comedy or farce. Five males, 2 fe¬ 
males. Only those thoroughly competent to 
speak good* Irish accent should attempt this play 
—a folk lore play. Scene is the same for the 
3 acts—A Village Street. 

Baker. 

Hanrahan’s Oath, in this volume, is not suit¬ 
able. 

Shanwalla—the third play of the volume, deals 
with horse racing and villains of the track, and 
a dead wife who comes back from the spirit- 
world to give a message to save her husband 
from jail. 

122. The Wrens. 

Also symbolic. A human comedy; the chang¬ 
ing of sides of man and wife; written in folk¬ 
lore. Three males and two strolling singers, a 
man and wife. Period, 1799, outside House of 
Commons. One act—in The Image, etc.—Greg¬ 
ory. 

Putnam (acting rights controlled by Samuel 
French). 

123. A Minute’s Wait.—Martin McHugh. 

Comedy, 1 act, 7 males, 2 females. 

Action takes place on platform of Ballyscan 
and Dunfail Light R. R. as the evening train is 
about to depart on a summer’s day. 

Martin McHugh, care Lancashire Catholic 
Players’ Society, 46 Carrill Drive, Fallowfield, 
Manchester, England. 


See addenda. 

[93] 





Play Catalogue 


ITALIAN PLAYS 

1. The Fan (11 Ventaglio). —C. Goldoni. 

Comedy, 3 acts, 10 males, 4 females. Scene, a 
single exterior. Costumes of the place and 
period. 

Baker. 60c. 

2. The Wager.—Giocosa, 

Poetic comedy. One act, 3 males, 1 female. 
Costumes of the period. Rich interior. 

French. 30c. 

3. On a Balcony. —Browning. 

One male, 2 females. Scene, a terrace. 

Dramatic Publishing Co., Chicago. 

4. Dante, the Light-hearer. —Brother Leo. .. 

Christian Brothers, St. Mary’s College, Oak¬ 
land, Calif. 

5. The Wolf of Gubhio. —Josephine Preston 
Peabody. 

An incident in the life of St. Francis of 
Assissi. 

6. Fireflies.— J. Sturgis. 

One male, 1 female. 

Baker. 35c. 

7. Picking Up the Pieces.— Sturgis. 

In comedy sketches. One male, 1 female. 

Baker. 35c. 

8. Apples. 

One male, 1 female. 

Baker. 35c. 

9. Torches. —By Kenneth Raisbeck. 

Medieval Italian style of drama; requires 

skillful players; romance steeped in tragedy—a 
good playing drama. The characters are all 
criminals sooner or later, but it is not insidious 
in its morals and therefore not harmful to the 
unwary. Great theatrical effects can be gained 
in the carefully prepared big moments. Another 
Francesca and Paola. 47 Workshop Plays, Cam¬ 
bridge, Mass. 

See addenda. 


PLAYS IN THE ITALIAN LANGUAGE 

10. Luna de Muile. —Felice Cavallotti. 

11. La Donne Curiose. —Carlo Goldoni. 

12. Francesca di Rimini. —Silvio Pellico. 
Baldini & Castoldi, Galeria di Vittoria, Milan, 

Italy. 


13. La Locandiera.— Goldoni. 

A play written for a famous Italian soubrette 
in 1752 and since revived by Elenora Duse in 
Italy, and in America. Six males, 1 female. 
Three nets 

Edited by Prof. J. Geddes, Jr., Ph. D. 

D. C. Heath, Boston, Chicago, New York. 


PLAYS WITH ITALIAN SETTINGS 

Merchant of Venice. —Venice. 

Two Gentlemen of Verona. —Verona and 
Milan. 

\ 

Taming of the Shrew. 

The scene of the play is laid in or near Padua 
and the manners depicted are those of the Ital¬ 
ians of the early part of the 16th century. 

Romeo and Juliet. —Verona and Mantua. 

Julius Caesar. —Rome. 

Coriolanus. —Rome. 


JAPANESE PLAYS 

1. Matsu or The Pine Tree. 

Classical Japanese play—tragedy. 

Bushido. 

Another version of above in Little Theatre 

Classics. 

The play is by Takeda Izumo and is the story 
of the sacrifice of a little child for the son of 
the exalted prince—a Noh drama. 

Duffield. 

2. Kayoi Komachi. 

Three characters. 

3. Suma Genzi. 

Three males. 

4. Kumasaka. 

Two acts. Three characters. 

5. Tamura. 

Three characters. 

Typical Japanese plays in Ezra Pound’s Ten 
Noh dramas. 

6. Chrysanthemums. —A. C. Wallace. 

Japanese comedy. One act. Two males who 

dress in ordinary modern clothes. Two females 
who wear Japanese costume. 

Pretty little play with a double love interest. 
French. 30c. 


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Play Catalogue 


7. A Case of Spoons.— Eunice Gray. 

One act—30 minutes. A refreshing little Jap¬ 
anese comedy that is popular. Two males in 
modern costumes, 1 male Japanese, 1 American 
girl and 5 Japanese ladies. 

French. 30c. 

8. A Flower of Yeddo. —Victor Mapes. 

Japanese comedy. One act. All Japanese 

characters. One male, 3 females. Very effective. 

French. 30c. 

9. Abhu San of Old Japan. —W. B. Hare. 

Fifteen females. See Plays for Girls. 

Denison. 

10. The Revenge of Shari-hot-Su. —C. B. 

Batchelder. 

Japanese Comedy. Two acts, interior and ex¬ 
terior. Plays 114 hours. A comedy of Japanese 
manners. 

Baker. 25c. 

11. O Joy San. —K. Kavanaugh. 

Japanese novelty play. One act, 2 males, 4 
females in modern costume, and 13 Japanese 
characters. Forty-fiveminutes. 

Quaint and dainty, wfith a pretty love theme 
as the background. 

Denison. 25c. 

12. Mitsu-Yu, or the Japanese Wedding. 

Play of Japanese life. Three acts. Six males, 
6 females, servants, etc. Time, l 1 /* hours. Cos¬ 
tumes and scenery must be entirely Japanese. 
Interior of a Japanese home and the interior of 
a Buddist Temple. Full directions. 

Denison. 15c. 

13. The Wonderful Tea-Kettle— Quaint and 
amusing little sketch by Nora Archibald Smith. 

Characters are: Old Japanese priest, three 
students, the tinker, the badger and the ani¬ 
mated tea-kettle, and spectators. Three scenes, 
founded on a Japanese folk tale. 

In Plays and Pantomimes for Children. 

Moffat, Yard & Co. 

14. The Literary Club. 

An American-Japanese play in two scenes. 
(See Plays for Girls.) Scenes, a Japanese school 
room and a room in the Emperor’s palace. Nine 
girls and extras for school and court scene in 
Japanese costume. 

15. The Noh Dramas. —Ezra Pound. 

16. Noh.— A study of the classical stage of 
Japan.—Ernest Fenollosa. 

Knopf. 

17. The Horns. 

Interesting Japanese play, entirely Japanese 
in character, in Plays of Old Japan, Leo Duran, 


$2.60. The play has been written on a Buddist 
theme and show’s a strange belief in punishment 
for evil. Should be played by all male charac¬ 
ters in the true Japanese fashion. It is cast for 
2 male characters and 3 female. The other plays 
in the volume cannot be endorsed.* 

Baker. 

* 


JUVENILE PLAYS 

See Children’s List, Boys’ List, Girls’ List, 
Outdoor, Woodland and Christmas Lists. 

Days We Celebrate. 

Patriotic. 

French Plays for Children. 

Pantomimes. 

Shadow Plays, etc. 

KINDNESS TO ANIMALS—Plays, Teaching 

‘ ‘ The prosperity and general welfare and civ¬ 
ilized advancement of any country or com¬ 
munity may be gauged by its treatment of the 
weak and defenceless. Only in the degenerate 
and dropping-behind nations and subdivisions do 
you find wanton and unprotested cruelties prac¬ 
tised upon the dumb animals that were meant 
to live on such friendly terms with man. The 
Humane Society is a necessity and the wmrk it 
is doing must never be neglected or under¬ 
rated.”—George Ade. 

1. Sanctuary.—Percy Mackaye. 

Teaches bird lore and Audubon humane ideas. 

2. Wild Animal Play.—Ernest Seton Thomp¬ 
son. 

A good nature play for school or camp—16 
characters impersonating animals. For boys and 
girls 8 to 14 years, or all boys. 

Doubleday, Page & Co. 50c. 

3. My Dog Faust. 

Dramatized from “Lewis and His Dog,” by 
C. M. Young, Chicago. 

4. Young America. 

Second Act. 

Scene—Juvenile Court Room. 

Characters—The Judge, the Boy, Jasper, the 
dog. 

“Jasper’s my friend. I don’t care what you 
do to me, Judge. Send me to the Reform School 


'* See addenda. 


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Play Catalogue 


for the rest of my life if you want, but don’t 
take away my dog. ’ ’ 

The story of how a bad boy’s love for an 
animal redeemed him. The rest of the play is a 
mawkish appeal for children to do as they please 
without respect for authority or elders. 

French. 

5. A Bird Play. —Nellie S. Spangler. 

In verse. A large or small number of children 
may give the play. Among the birds represented 
are the dove, robin, cedarbird, bluebird, sparrow, 
jay, tanager, woodpecker, redbird, ostrich and 
eagle. 

Penn. 25c. 

6. The Wolf of Gubbio. —Josephine Preston 
Peabody. 

7. Black Beauty. 

Write American Play Co. for information of 
above. 


PLAYS POR LADIES 

Modern Costumes. 

(Published by Samuel French. 30c.) 

1. Mrs. Oakley’s Telephone. —Eudora M. Jen¬ 
nings. 

Comedy, 1 act, 1 interior, 30 minutes. A very 
clever play for four ladies. Two tine character 
parts, Irish and German. One of the best plays 
written for four ladies of versatile talents. 
Highly recommended. 

2. The Burglar. —Margaret Cameron. 

Farce. One act, 1 interior, 30 minutes, 5 fe¬ 
males. 

Very amusing. Play full of clever dialogue. 
Set in a summer hotel where the news of a burg¬ 
lar in neighborhood arouses the timid guests to 
the last stages of nervousness. 

3. A Flower of Yeddo. —Victor Mapes. 
Japanese comedy. One act, 4 females. See 

Japanese. 

4. Hannah Gives Notice. —A. C. Thompson. 
Comedy. One act, 1 interior, 4 females. 
Hannah, an old servant, gives final notice of 

leaving as a visitor is expected. The niece who 
is expected masquerades as a new maid—but 
Hannah returns. 

5. A Broken Engagement. —A. C. Thompson. 
Comedy. One act, interior, 25 minutes, 4 fe¬ 
males. 

6. An Imaginary Aunt. —Wm. Muskerry. 
Comedy. One act, I interior, 30 minutes, 3 

females. 


7. A Lunch in the Suburbs. —Helen Luding- 
ton. 

Farce. One act, 45 minutes, 10 females. 

8 . The Reader. —Ada T. Ammerman. 

Comedy. One act. Scene, a living room and 

an adjoining room, both seen from audience (can 
be effectively made by use of screens), 30 min¬ 
utes, 7 females. 

A reader who practices her art in a boarding 
house; a sketch in which there are plenty of 
character parts and a hit for everyone. 

9. The Woman’s Convention, Punkville, U. 

S. A. —By E. Slocumb. 

A novelty of fun and folly suitable for 
women’s clubs. T^venty-two characters and any 
number of extras; 15 minutes. 

10. Those Husbands of Ours. —Jessie A. 
Kelley. 

Farcical entertainment. One act, easy in¬ 
terior, 1 hour, 7 females. All parts good. 

The wives have just returned from a week’s 
vacation and report to each other upon the con¬ 
dition of their homes on their return. Very 
funny and clever dialogue. Good little sketch. 

11. The Girls. 

During a whist game the guests carry on a 
tiff started in girlhood, but when, later, under 
the mellowing influence of tea one of “the 
girls’’ reveals the details of an old romance, 
they unravel an old misunderstanding and make 
up. A thrill is given at the conclusion when a 
sudden belated wedding is arranged and the cur¬ 
tain falls with the singing of Auld Lang Syne. 

Nine females. 

12. At the Milliner’s. —Mabel H. Crane. 

Comedy. One act. Scene, milliner’s parlor; 

40 minutes, 9 females. 

13. The Rag-Carpet Bee. 

Comedy. One act, 1 interior, 45 minutes, 9 
females. 

The woman from New York starts a fashion at 
the bee and the whole town takes it up, and 
when it is discovered that wearing the hat back¬ 
wards was a mistake of the New York woman, 
who was in a hurry at the time, confusion fol¬ 
lows. 

14. Aunt Maggie’s Will. —Elizabeth Gale. 

Comedy. Three acts, 2 interiors, 1 hour, 10 

females. 

During the festivities of a kitchen shower 
Madeline learns that the aunt from whom her 
fiance expects to inherit has died and left money 
on condition that he marry a competent house¬ 
keeper. How she succeeds after repeated fail¬ 
ures is the climax of play. 


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Play Catalogue 


15. The Sweet Elysium Club. —Alice E. Ives. 
Comedy. One act, 1 interior, 30 minutes. 

Fourteen females. 

Costumes according to character. Well known 
characters from famous plays are introduced, 
Camille, Lady Teazle, Carmen, La Tosca, in their 
individual speeches and poses. Carmen does a 
dance, Galatea persists in posing, Cleopatra has 
her glass of vinegar with the pearl in it, etc. 

16. Miss Maria. —Maude Yosburgh. 

Comedy. One act, simple interior, 35 minutes, 

4 women, 1 man and 4 children (not speaking 
parts). Man can be taken by woman actress. 

A delightful little character play dramatized 
from Margaret Deland’s Old Chester Tales. One 
objectionable line that might be left out about 
marriage having been instituted in recent times. 

17. Just Women. —Colin Campbell Clements. 
Comedy. One act, 1 interior, 25 minutes, 7 

females. 

An amusing little comedy of the early Victor¬ 
ian period. 

18. Sparks Divine. —Bessie W. Springer. 
Comedy. One act, simple interior, 40 minutes, 

10 females. 

Primarily a play of characters, each of which 
offers a first-class opportunity to the ambitious 
amateur. 

19. Between the Soup and the Savory. —G. 
Jennings. 

One act, 1 interior, 30 minutes, 3 females. 

This play was put on at The Playhouse, Lon¬ 
don, by Cyril Maude, with extraordinary success. 
The parts are: The cook, the kitchen maid and 
the parlor maid. Action takes place during the 
serving of dinner. 

20. At the Window. —Lillian F. Chandler. 
Comedy. One act, 1 interior, 5 females, and a 

woman dressed in man’s coat and hat who passes 
in back of window at certain intervals. He does 
not speak during the entire play. Six characters 
in all. 

21. Before the Rummage Sale. —G. S. Shep¬ 
herd. 

One act, interior, 14 or more female charac- 
tors. 

A human little incident; makes a quaint little 
play and is a good frame-work for the typical 
characters — “church workers,’’ and many 
varied characters. 

22. Reformers Reformed. —Elizabeth Gale. 
Comedy in 4 short acts, 30 minutes, 17 females. 
In order to carry out their idea of coming in 

touch with all classes the Progressive Philan¬ 
thropists’ Club, organized to uplift humanity, 
take positions as housemaids. This, together, 


with some of their other club missionary w T ork 
quickly involves them into such difficulties that 
the club is disbanded. 

23. A Castle in Spain. —L. Montague. 

Dramatic sketch for two ladies. (See Span¬ 
ish.) 

24. The Princess. 

A whimsical allegory on Tennyson’s Princess, 
with all the Tennyson characters. 25c. 

25. The Old Peabody Pew. —Dramatized from 
Kate D. Wiggins’ book. 

Two acts, one scene— the interior of a church; 
1 % hours, 8 women and 1 male character—can 
be played by woman. 

26. Piper’s Pay. —Margaret Cameron. 

Comedy. One act, 1 interior, 50 minutes, 7 

females. 

A very amusing and well-written little comedy 
dealing with the awkward consequences that be¬ 
fall Mrs. Burton, who collected souvenirs from 
every place she visited. 

27. The Kleptomaniac. —Margaret Cameron. 

Comedy. One act, 1 interior, 45 minutes. 

A very clever play concerning the same Mrs. 
Burton, who has a wonderful facility for losing 
or mislaying her valuables. 

28. A Nice Quiet Chat. 

Comedietta. One act, 1 interior, 15 minutes, 
3 females. Very easy. 

29. A Brown Paper Parcel. 

Comediette. One act, 15 minutes, 1 interior. 

One tenant by the name of Brown is vacating 
the apartment and expecting a hat, and another 
tenant moving in, also named Brown, is expect¬ 
ing a package. An amusing little sketch for 
two ladies. 

30. When the Wheels Run Down. —Maude 
Rogers. 

Comedietta. One act, 1 interior, 30 minutes. 

A charming and pathetic play. Miss Priscilla 
Dormer receives a visit from a former lover 
after fifteen years’ absence. The lover does not 
appear on the scene. There is a very good maid¬ 
servant part, 3 females. For high class work. 
Only advanced amateurs could manage this beau¬ 
tiful little play. 

31. We Dine at Seven. —By Angela Cudmore 
and Peter Davey. 

Sketch for two ladies. Twenty minutes, 1 in¬ 
terior. 

Two girls who are blue stockings and do not 
know the first thing about cooking invite a man 
to dine. Their various attempts are extremely 
laughable. 


[97] 



Play Catalogue 


32. Dinner at the Club.— Eudora Jennings. 

Comedy. One act, 30 minutes, 1 interior, 9 

females. 

A clever little satire on women trying to imi¬ 
tate the men in club life. Should prove quite a 
success at women’s clubs. 

Baker and Co. 25c. 

33. The Rev. Peter Brice, Bachelor. —Beulah 
King. 

Play, 1 act, interior, J / 2 tour, 7 women. 

The Rev. Peter Brice, the new minister, res¬ 
cues from the slippery sidewalks of the town 
five of the most prominent maiden ladies. A 
whimsical bit of comedy, easy to do and provid¬ 
ing a number of good comedy parts of equal 
value and opportunity. Can be recommended as 
a decidedly good little comedy. 

34. The Alkestis of Euripides. —Adapted for 
amateur performance by E. Fogarty. 

Nine characters and chorus, l x / 2 hours. Copi¬ 
ous instruction, with plate diagrams, full mar¬ 
ginal notes for producing, with hints on lighting, 
costumes, properties, etc. 35c. 

35. The Americana. —A. Bradford. 

Comedy-drama. Three acts, 11 females, 1 x / 2 

hours. Interiors. Costumes, Spanish and Ameri¬ 
can. 

36. American Beauties. —A. Seaman. 

Comedy. One act, scenery unimportant, 6 fe¬ 
males, plays 20 minutes. A pretty little trifle. 

37. The Antigone of Sophocles. —Adapted by 
E. Fogarty. 

Eleven characters and chorus—2 hours. Text 
accompanied with plates and diagrams and full 
notes and instructions for production, including 
costumes, etc. 35c. 

38. Joint Owners in Spain. 

One of the most popular one-act plays for 
women that has ever been used by amateurs— 
a comedy in one act by Alice. Brown. It is a 
well-written, compact little satire upon old 
ladies who are forced by circumstances to com¬ 
plete existence at an Old Ladies’ Home, and 
many audiences would consider it rather a piti¬ 
less performance. Their eccentricities furnish 
the humor. Again others might only think of 
the high literary quality in the lines. 

Royalty, $5.00. 35c a copy. 

Four “old ladies.” 

39. Mrs. Willis’ Will. 

One act, rustic interior, 5 females, very easy, 
30 minutes. 

40. An Auction at Meadowvale. —A. C. 
Thompson. 

One act, easy interior, 30 minutes. Contains 
male part to be played by a lady and 7 other 
jjarts; 30 minutes. 

Quaint little play of “small town” life. 


41. The Girls of Seventeen-Seventy-Six. 

Drama. Three acts, 14 females, and extras. 
(See American History Plays.) Colonial cos¬ 
tumes. 

42. A Fair Encounter. —C. M. Rae. _ 

Sketch. One act, for 2 females, 1 interior, 35 

minutes. 

A very bright battle of wits. Best talent re¬ 
quired for this clever sketch. (See further de¬ 
scription under Plays for Girls.) 

43. The Ladies of Cranford.—M. B. Horne. 

Three acts, 13 females. (See under Girls.) 

44. A Lady to Call.— C. W. Pierce. 

Comedy. On& act, 1 interior, 20 minutes, 3 

females. 

45. Petticoat Perfidy. 

Sketch in one act, 1 interior, 30 minutes, 3 
females. 

Bright little comedy full of wit and amusing 
situations. 

46. The Pink Swan Pattern.—M. B. Whiting. 

Play, 2 acts, 1 easy interior, 40 minutes, 10 
females. 

A clever little piece suited for women’s clubs. 

47. Playing the Game.—J. M. Murray. 

Comedy. Two acts, 1 easy interior, 1 ^4 hours. 
Seven females. 

Mrs. W. wants her daughter to get a rich hus¬ 
band and picks out an impecunious youth whose 
mother is looking for an heiress. Aunt Allis, 
from the country, saves the girl, although both 
mothers play the game for all it is worth. 35c. 

48. St. Valentine’s Day. —A. Eliot. 

Comedy. One act, 20 minutes, 2 females. 

Scenery unimportant. 

49. Six Times Nine. —G. R. Bridgham. 
Comedy. Two acts, 11 females, 1 interior, 3 

exteriors, 1 l / 2 hours. 

American girls and chaperone encounter a 
princess in her summer home and bear them¬ 
selves with credit in some warlike incidents of 
her reign. 35c. 

50. Six to One. —F. A. Mathews. 

Comedietta. One act, 1 interior, 40 minutes. 

Scenery, not necessary. Five types of girl satir¬ 
ized—Boston girl, Philadelphia, Chicago, etc. 
Dialogue bright. Thirty minutes. One male to 
be played by woman, and 6 other females. 

51. Sunbonnets.— M. D. Campbell. 

Comedy. Two acts, 11 females, 1 easy interior, 

1 y> hours. 

Through a blunder two rival sewing societies 
assemble at same house, and after strenuous ef¬ 
forts have failed to keep them apart they meet 
and make up. Very amusing. 


[S8] 



Play Catalogue 


52. A Slight Mistake. 

Comedy. One act, 1 interior, 40 minutes, 5 
females. 

Miss Penelope Perfect, the leading part, is an 
amusing comedy character. 

53. Clever Comedies for Female Characters. 

Collection consisting of A Corner in Straight 
Jackets, 8 ladies, 3 children; Dairy-maid-festival 
any number of female characters; A Daughter- 
in Law, 4 ladies; Ella’s Bona-fide Offer, 4 ladies; 
Gaffer Grey’s Legacy, 8 females; The Governess, 

3 females; The Grecian Bend, 7 females; A Sad 
Mistake, 6 ladies and chorus; Slighted Treasures, 

4 ladies; To Meet Mr. Thompson, 8 ladies. 35c. 

54. A Twentieth Century Proposal.—E. \V. 
Merriman. , 

Comedy. Three acts. Scenery varied, but 
easy. Five males, 8 females, all intended to be 
played by ladies. Costumes, fantastic. The 
piece looks forward a hundred years. Very 
funny. Plays 2 hours. 

55. Brass Buttons. —G. A. Luce. 

Comedy. Three acts, 7 females. Scenery easy. 
Plays 2 hours. 

Showing the influence of brass buttons over 
the feminine mind. The irresistible Dodo is a 
good comedy lead. All other parts good. 35c. 

56. Tickets, Please!—I. Dale. 

Comedy. One act, 4 females, 1 interior, 20 min¬ 
utes. 

A ludicrous mix-up over tickets for the mati¬ 
nee. Clever and amusing. 

57. Pleurette and Co. —E. Dane. 

Duologue in 1 act. 1 interior. 20 minutes, 2 

females (must be clever). 

A very clever bit. Ingenious and entertaining, 
with strong dramatic interest. 

25c per copy. Eoyalty, $5.00. 

58. A Wonderful Cure. 

Farce. One act, 1 interior, 35 minutes, 4 fe¬ 
males. 

Lively, amusing piece for parlor or stage per¬ 
formance. 

59. Why, Jessica! —A. R. Knowlton. 

Comedy. One act, 1 interior, 40 minutes, 1 

male, to be played by woman, 9 females. 

Mr. Barker plots to cure his wife and her 
friends of their fondness for Bridge, and enlists 
the services of his niece, Jessica, in the cause. 
How Jessica contrives to do this is the story. 

60. Pysche, M. D.— C. Barnard. 

Comedy. One act, 1 interior, 30 minutes, 9 
females. 

Clever satire of certain elocutionary “fads.” 
Full of fun. Acts briskly and well. Characters 
are almost equal in length and opportunity. 


61. Maids and Matrons. —G. B. Faxon* 

Play, 3 acts, 10 females, costumes of period; 1 
exterior and 2 interiors, 1^4 hours. 

Suited for Colonial days or patriotic celebra¬ 
tions. Introduces a minuet, giving complete and 
minute instructions for this famous dance. 35c. 

62. Gone Abroad.— E. G. Whiting. 

Comedy. One act, easy interior, 20 minutes, 4 

females. 

Amusing skit on social snobbery. 

63. The Girl Upstairs. —G. R. Bridgham. 
Comedy in 2 acts, 7 females. One interior. 

Plays 1 hour. 

Daisy Jordan, crazy to go on the stage, comes 
to New York and starves in lodging house wait¬ 
ing for her chance. She has an interview with 
a popular actress and the result is not what 
Daisy intended. 

64. Comical Country Cousins. 

Twelve females and extras as desired. No 
scenery. Time— l 1 /^ hours. (See Entertain¬ 
ments). 

65. Wrong Numbers. —E. Dane. 

Triologue, 1 act. One interior. Three females. 

Twenty minutes. Royalty, $5. 

An intensely dramatic episode between two 
shoplifters in a department store in which “dia¬ 
mond cuts diamond” in a vividly exciting and 
absorbing battle of wits. A powerful little play 
—only very clever people should attempt it. 

66 . How the Story Grew. —O. W. Gleason. 
Entertainment for women’s clubs in 1 act. 

Scenery unimportant. Eight females. Plays 
45 minutes. 

A very easy and amusing little piece, full of 
human nature, and hitting off a well known 
peculiarity of almost any community. Written 
for middle aged women. 

67. How the Club Was Formed. —O. W. Glea¬ 
son. 

Entertainment in 3 scenes, 18 females. Scen¬ 
ery unnecessary. Time— 1% hours. Full of 
home thrusts and hits that are local to every 
place. 

68 . The Happy Day. —Octavia Roberts. 

Farce in 1 act for 7 females. One interior. 

Time—30 minutes. 

An impossible country cousin turning up on 
the eve of her cousin’s fashionable wedding and 
demanding to be a bridesmaid is the theme of 
this farce. 

69. Bachelor Maids. —See Plays for Girls. 


[ 99 ] 





Play Catalogue 


■- 

Penn publications. 25e. 

70. All on Account of an Actor. —L. L. Wil¬ 
son. 

Farce in one act. Easy interior. Six females 
and the voice of a man. Time—30 minutes. 

71. A Commanding Position. —A. Sanford. 
Farcical entertainment. Easy interior and one 

street scene. Seven females. A eulogy for the 
woman who cooks. 

72. A Fond Delusion.— C. F. and F. M. 
Brooks. 

Farce (from the French) for 3 females. One 
interior. Time—40 minutes. 

An aunt and niece are infatuated with the 
same man, each without the knowledge of the 
other. The play works out the answer different¬ 
ly from what either of the women supposed. 

73. Hanging Out the Wash. —K. E. Smedley 
and A. P. Palmer. 

A two character female sketch in black face. 
No set scenery except a clothesline and a bas¬ 
ket of wash. At the end of 25 minutes very 
little of the wash has been hung up but every¬ 
body has had a good time. 

74. How a Woman Keeps a Secret. —Frank 
Dumont. 

Comedy in 1 act for 10 females. One easy 
interior. Time—% hour. 

75. Hiartville Shakespeare Club. — B. M. 

Locke. 

Farce in 1 act for 7 females. Simple interior. 
Time—45 minutes. 

76. The Home Guard. —Jennie Smith. 

Comedy in 1 act, 8 females. Plain interior. 

Time—45 minutes. 

The men of the village having gone off to a 
parade in another town, their wives and daugh¬ 
ters form a “home guard.” A succession of 
burglar scares follow. Songs and specialties 
may be introduced. 

77. The Ladies’ Strike.— H. S. Griffith. 

Farce in 1 act for 7 females. Simple office 

setting. Time—25 minutes. Action centers 

around an intelligence office. 

t 78. That Blond Person.— H. F. Bagg. 

Farce in 1 act for 6 females. Interior. Time 
—30 minutes. The story of how bad advice 
acted as a boomerang. 

79. A Patron of Art. —D. A. Shoemaker. 

Farce in 1 act for 7 females. One interior. 
Time—1 hour. 

An ambitious woman neglects home and child 
to become a member of many clubs and a “pa¬ 
tron of art.” By a neat little plot she is cured 
of her folly. 


80. The Oxford Affair. —J. H. Cobb and J. E. 
Paine. 

Comedy in 3 acts for 8 females. Interiors at 
a seaside hotel. Time—1 % hours. 

Alice Graham in order to chaperone herself 
poses as a widow and her attempts to serve as 
a chaperone for two other ladies furnish an 
evening of enjoyment. 

Denison publications. 25c. 

81. A Borrowed Luncheon.—H. S. Griffith. 

Farce for 5 females. Time—20 minutes. 

Lady in straightened circumstances in order 
to keep up appearances, entertains her guests in 
the house of a wealthy friend, pretending it is 
her own. 

81. A Fair Encounter. —C. H. Rae. 

Lovely comedietta, 2 females. See mention 
elsewhere in this list. 

82. The Light Brigade. —M. R. Bitney. 

Comic entertainment for 10 females. Time— 
40 minutes. Ma Light and her talented daugh¬ 
ters give a show. 

83. Madame Princeton’s Temple of Beauty.— 

T. S. Denison. 

Farce for 6 females. Interior. Time—20 min¬ 
utes. Not difficult. 

84. Men Not Wanted. —B. E. Palmer. 

Comedietta for 8 females. Simple interior. 
Time—30 minutes. 

Girls decide to give up the society of men 
and devote lives to uplift. A letter upsets their 
vows in a ludicrous .manner. 

85. Meow. —F. Cameron and A. E. Ives. 
Comedy for 2 ladies. Time—20 minutes. A 

subtle bit of spitfire humor. 

86. A Mistake in Identity.—B. L. C. Griffith. 
Sketch for 2 females. Time — 15 minutes. 

Easy. 

87. Mrs. Gamps’ Tea. — (See Dickens.) 

Two females. 

88. Mrs. Hoops-Hooper and the Hindu.— 

Mary Mon cure Parker. 

Comedy. Intended to be played by 12 women. 
Interior. Time—25 minutes. Clever “take-off” 
on the risk one runs in following new cults. 
Highly popular with women’s clubs. 

89. Mrs. Jenkins’ Brilliant Idea.—Jessie A. 
Kelley. 

Comedy for 8 females. One interior. Time— 
35 minutes. Can be played in any room with¬ 
out a curtain. 

Members of Mrs. Jenkins aid society bring 


[ 100 ] 



Play Catalogue 


her a collection of useless Christmas gifts for 
a sale. A social upheaval follows. Nothing 
better for church societies. 

90. By Way of the Secret Passage.— L. 
Barber. 

Comedy drama in 3 acts for 12 females. One 
interior. Time—1% hours. One character is a 
soldier .dressed in a long cloak and merely ap¬ 
pears at the door—generally played by a girl. 

At a house party in an old house the hostess 
tells how her grandmother escaped through the 
secret passage to meet a young American 
patriot lover whom she married. Betty emulates 
her grandomther and by way of passage meets 
her lover and returns a bride. 

91. A Narrow Escape. —R. R. Henry. 
Comedietta for 2 females. Interior; 20 min. 

92. Not a Man in the House. —S. J. Smith. 
Comedy in 2 acts, 5 females. See Home Plays. 

93. Sewing for the Heathen. —W. B. Hare. 
Entertainment with 9 ladies, either young or 

middle aged. Time—40 minutes. Can be played 
on any platform or room. 

94. The Fascinators. —W. B. Hare. 

Comic entertainment; 13 females; 40 minutes. 
A thorough school open to “girls between 16 
and 50“ which gives scientific training in the 
fascinating game of catching a husband. Intro¬ 
duces specialties and is suited to women’s clubs. 

95. Sophromia’s Wedding. —H. Wilson. 

Small town comedy; 3 acts; 17 females and 

1 small boy; 2 interiors; 1% hours. The charm 
of the play is its quaint types and homely humor. 

96. Abbu San of Old Japan. —W. B. Hare. 
(See Plays for Girls.) 

97. A Southern Cinderella. —W. B. Hare. 
Comedy drama in 3 acts, 7 females. One in¬ 
terior. Time—2 hours. The first act can be 
given separately as a 30 minute playlet. 

98. In Mendelesia, in two parts. 

In More Short Plays. Five characters in first 
part, 5 in second part. 

99. The Groove. —George Middleton. 

Younger and older sister have an interesting 

dialogue in which much is revealed to the audi¬ 
ence about the character of each—although there 
is no action on the stage. 

Henry Holt and French. 

100. How the Ladies Earned Their Dollar.— 

See Entertainments. 

101. Listen Ladies. —Emma J. True. 

Comedy in 2 acts; 10 females;l hour, 15 min. 

Easy scenery. Opportunity for some very amus¬ 
ing character acting. Play opens with a church 


club of ladies at afternoon tea discussing the 
raising of a fund for the building of the new 
town library. Baker. 25c. 

102. A Treasury of Plays for Women. 

Edited by Frank Shay, with the following 
recommended plays: The Seige, Columbine, 
Lost Pleid, Manikin and Minikin, and Black- 
berryink Little, Brown & Co. $3.10. (1922) 


PLAYS IN FOREIGN LANGUAGES 

See under French or France, German, Italian 
or Italy, Spanish or Spain. 


LATIN, TRANSLATIONS FROM 

The Twins. —By Plautus. 

Phormio, Terence. 

Translated by Barret Clark. See under Greek 
Theatre. 


STAGE LIGHTING—Works on 

Chapter 9— Producing in Little Theatres.— 

Clarence Stratton (Holt). Excellent treatise on 
the subject. 

On Building a Theatre. —Lee Irving Pichel, 
Theatre Arts, Detroit. The chapter on Stage 
Lighting is especially useful. 

Hints on Stage Lighting in Practical Stage 
Directing for Amateurs. Emerson Taylor, E. P. 
Dutton. 

Chapter VII in The Art Theatre where the 
question of stage settings is ably discussed. 

The chapter, How to Stage a Play contains 
special advice on lighting in Barret PL Clark’s 
How to Produce Amateur Plays. 

See Stagecraft. 


LITTLE THEATRE 

The Little Theatre in the United States.—Con¬ 
stance D’Arcy Mackay. See Reference list. 

The Art Theatre. —Sheldon Cheney.—Knopf, 
$2.50. 

Producing in Little Theatres. —Clarence Strat¬ 
ton. 

MAKEUP, Works on—See under Stagecraft 


{ 101 } 



Play Catalogue 


PLAYS FOR MALE CHARACTERS ALONE. 

A list designed for more mature talents than 
the plays for boys elsewhere listed in this cat- 
agolue. 

1. Rising of the Moon. —Lady Gregory. 

One act, 4 men; in Seven Short Plays. Can 
be obtained from Samuel French & Co. (See 
Irish Plays. 

2. Lost Silk Hat. —In Lord Dunsany, Five 
Plays. 

For 5 males. Not difficult. Can be obtained 
from French & Co. 

3. A Night at the Inn. —Dunsany. 

East Indian atmosphere projected into a lone¬ 
ly inn on an English down. Seven characters; 
3 silent parts. Published by Sunwise Turn, 2 
East 31st St., New York. Rather difficult. 

4. Fame and the Poet.— By Dunsany. 

A satirical sketch. Two male and 1 female 
part—can be played by a man. (In Atlantic 
Series, The Best Plays of 1921). 

5. Master Pierre Patelin.— Special version by 
Brueys. 

One of the most famous of early French 
farces. Setting and character belong to Middle 
Ages. Concerns the crooked dealings of a clever 
lawyer. Seven men and 2 female parts to be 
played by men. French & Co., 35c. Also pub¬ 
lished by Baker. See Boys’ Plays. 

6 . Jimmy. —A. Patrick, Jr. 

Play in one act, 2 males. The story of an 
ex-convict who gives up the hope of living 
straight. He succeeds in securing a bright fu¬ 
ture in an exceedingly interesting manner. Of¬ 
fers opportunity for sincere work. Is adapted 
as a curtain raiser. French. 25c. 

7. The Grey Overcoat. —Randall. 

Clever detective play for 3 males—Inspector 
Woodruff, Mortimer Curtis, the most brilliant 
detective in the service, and a butler spy. Not 
very difficult. French. 25c. 

8 . Dinner for Two. —R. C. Carton. 

Farce, 1 act, 3 males; 30 minutes; one interior. 

Kidbrook is preparing to give a dinner to a 
lady whom he has casually met. A military 
friend, Major Pownby, arrives from abroad and 
Kidrook’s resources are taxed to the extreme in 
order to rid himself of the nuisance of a sticker, 
which Pownby proves to be. Who the fair un¬ 
known is, is made known at the climax. 


10. Babes in the Wood. 

A travesty, 7 males. In Comic Dramas for 
Male Characters, part 3, 40c. 

11. Bunk. 

A burlesque melodrama in one act for 6 males 
and 1 female—can be played by a man. Twenty 
minutes. The workings of the stage behind the 
scenes are disclosed to audience, while the stage 
hands in view of the audience produce the ac¬ 
companying thunder, groans, etc., while three 
characters perform an old fashioned melodrama. 
35c. 

\ 

12. The Ghost of Jerry Bundler.—By W. W. 

Jacobs and Chas. Rock. 

Play, 1 act; 1 interior; 7 males; 30 minutes. 

A number of travelers telling ghost stories 
at a country tavern bet with a boastful young 
fellow that he would not be afraid if a ghost 
should appear. One of the party decides to test 
him and dresses as Jerry Bundler, a bandit long 
since dead. 25c. Royalty, $5. 

13. Winning an Heiress. 

Farce, 2 acts, 7 males, 1 scene throughout. 
Easy to produce. Time—1 hour. 

Five impecunious chums living together in a 
New York flat lose their jobs, are beset with 
bills and 2 of the chums impersonate an heiress 
and her aunt. The discovery of the hoax causes 
consternation, but all comes out right and even 
the bills are paid. 25c. 

14. The Jolly Climbers. —By Gerald. 

One act sketch, 10 to 16 males. Pioneer scene, 
interior of a hut. Time—45 minutes. 

A party of summer boarders in the Adirondack 
mountains have accomplished the climb and 
three fellows, all infatuated with the same fair 
boarder, confide in the same friend one after¬ 
noon amid many humorous situations. Introduc¬ 
tion of music will add. 25c. 

15. Believe Me, Xantippe. 

Excellent farce. The two female parts can 
be taken by men. See Drama list and also under 
Farces. Difficult but very worthwhile characters. 

16. The Zone Police. —Richard Harding Davis. 

For 4 males. (See under Panama.) A tem¬ 
perance lecture in a strong dose. 

17. The Monkey’s Paw.—W. W. Jacobs. 

A story in 3 scenes. Dramatized by Louis N. 
Parker. Four males, 1 female—can ' be played 
by a man. One simple interior. Plays 1 hour. 


9. Make Your Wills. 

Seven males. 


[ 102 ] 



Play Catalogue 


18. Moonshine. —See Tennessee. 

A play in one act, one interior for 2 males. 

A thrilling little drama laid in the Tennessee 
mountains. Revenue officer introduces himself 
into midst of dangerous band of moonshiners 
and beats them at their own game.* 35c. 

19. Admiral Peters. —W. W. Jacobs and Mills. 

For 2 males, 1 female—which can be played 

by man. 

20. The Changeling. —W. W. Jacobs. 

Story for 2 males, 1 female—can be played 
by man. See One-act plays. 

21. Laughter in Court.— John Kendall. 

Comedy. For 4 males. 25c. 

22. A Tabloid. —Arthur Eckersley. 

Tragic farce for 3 males. 

A dramatist, his friend and an old broken 
down actor act a very thrilling little drama, the 
old actor doing a double share of acting. Re¬ 
quires clever people. The old actor a capital 
part. Good little sketch. 

23. The Touch of Truth.— H. M. Walbrook. 

Comedy for 2 males. 30c. 

The above are all published by Samuel French, 
New York. 

The following are published by Baker, Bos¬ 
ton, at 25c each. 

24. The Night After. —A. Blanchard. 

Farce in one act. Eleven males, 1 female, the 
latter intended to be played by a man. Five 
subordinate characters may be omitted. Intro¬ 
ducing singing if desired. Time, 40 minutes. 

25. The Alarm. —M. R. Fawcett. 

Sketch in one act, for two male characters 
who double two other parts. Scene, an easy in¬ 
terior. Plays 15 minutes. A very dramatic 
sketch. 

26. The First National Boot. —By M. G. 

Farce in two acts. Seven males, 2 females 
(can be played by two men). One interior. 
Plays 1 hour. 

Ebbetts’ distrust of banks leads him to keep 
his money in a rubber boot, which makes him an 
object of interest to Nine-fingered Pete and 
others. Very funny. 

27. Old Cronies. —S. T. Smith. 

Sketch in 1 act. Two males. No scenery re¬ 
quired. Plays 30 minutes. Very delightful. 
Requires two clever people. 

28. Swimmin’ Pools. —B. Forrest. 

Play in 1 act. Scenery, a dark stage. Five 
males. Plays 20 minutes. 

A high class play, uniting much humor with 

* Omit line: In name of religion every vice 
is indulged. (See p. 108.) 


genuine sentiment—a regular “find” for ad¬ 
vanced amateurs for it is so easy to produce, 
requiring no scenery but an ash pile and a bon¬ 
fire. The “kid” and the trio of hobos are the 
characters on which the play is built. 

29. A Thief In the House. —R. M. Robinson. 
Comedy. One act. Six males. Easy interior. 

Plays 45 minutes. 

A capital play with a very ingenius plot. 
Good Hebrew character part. 

30. A Very Pleasant Evening.— W. E. Suter. 
Sketch. One act. Three males. One interior. 
A case of three men after the same girl 

where all are fooled—30 minutes. Good. Not 
difficult. 

31. Revisor. —See Drama list. Can be played 
by all male cast. 

32. The Traitor. —Percival Wilde. 

Play in one act. Seven men. Scene, interior. 
Costumes, modern and military. 

33. The Other Voice. —C. Iv. Fairbanks. 

Play. One act. Three voices on a dark stage, 

upon which nothing is visible save starlight. 
Originally produced at Workshop 47. Plays 10 
minutes. Royalty $5. 

34. The Tramps’ Convention. —J. A. Kelley. 

Entertainment in one scene. Seventeen males. 
Costumes, typical tramp-dress. Scenery, unim¬ 
portant. Time, 1% hours. Music can be intro¬ 
duced. The opening is very funny and the finish 
—the Ananias Club—can be worked up to any 
extent. 

35. Gulliver and the Lilliputians. —M. B. 

Horne. 

Entertainment in one scene. Ten males. Cos¬ 
tumes and scenery easy—25 minutes. 

Mr. Gulliver and his talented dwarfs give a 
very funny and original minstrel show. 

The Minstrel Encyclopedia. —W. B. Hare. 
Most complete guide book of its kind ever 
published. How to rehearse, make up, Cabaret 
minstrels, Jubilee plantation sketch, cotton field 
with jubilee singers and dancers—“a regular 
South before the war” act, etc. 

Baker. $1.00. 


Denison Publications at 25 cents per copy: 

36. The Case Against Casey.—By Thornton 
Friel. 

Burlesque breach of promise trial. Twenty- 
three males—40 minutes. Irish, Dutch, Swede, 
Jew, Italian, character parts. The “old maid,” 
who brings suit, is played by man. No long 
parts; little rehearsing. 


[ 103 ] 




Play Catalogue 


37. The Editor-in-Chief. —Chas. Ulrich. 

Farce comedy of newspaper life. Ten males 

—1 hour. 

38. Not at Home.— B. L. C. Griffith. 

Sketch for 2 males—15 minutes. 

Two gentlemen get into a serious quarrel 
about a young lady and a challenge is the result. 
Comparing notes later, they find they have both 
been taken in by the girl. 15c. 

39. The Quick Lunch Cabaret. —C. R. Cooper. 
Four males. See farces. 

40. Two Gentlemen in a Fix. —W. E. Suter. 
One act farce. Two males—15 minutes. 

Two men in a depot impede each other in the 
doorway; miss train. Wrangling, they discover 
younger is elder’s prospective son-in-law. Stick 
in door again, miss train. 15c. 

41. A Very Pleasant Evening. —W. E. Suter. 
Farce. Three males. Thirty minutes. 

A case of 3 men after the same girl. 15c. 

42. Oshkosh Next Week.— Harry L. Newton. 
Sketch for singing quartette. Four males— 

20 minutes. 

Three hungry young actors without money 
waiting for next week’s engagement and an 
ingenious bell boy. Any number of songs may 
be introduced. 

43. Great Medicine Dispensary. 

Funny characters. Six males. See Farces. 

44. Initiating a Granger. 

Twenty-five minutes. Eight males. 

Penn & Co. Publications—25c per copy: 

45. The Arctic Architects. —Morris. 

Eight males, 3 females. Can be played by all 
male cast. See description under Farces. 

46. The Bowery Night School. 

Eight males. Forty minutes. Depicts experi¬ 
ences of a new teacher with pupils of various 
nationalities. 

47. Box and Cox. 

Two males and 1 female—can be played by a 

man. 

48. The Cannibal and the Skeleton. 

Shadow play. See description under Shadow 
plays. 

49. Popping the Question. 

One male. See under Pantomime. 

50. Caught with the Goods. —Frank Dumont. 
Two males. Musical specialty may be intro¬ 
duced. Darkey valet and his master. Twenty 
minutes, without music. 

Baker. 35c. 


51. Forget-me-nots.—B. L. C. Griffith. 

Twenty minutes. Any easy interior. 

A dissolute son, in a fit of remorse, is about 
to take his life, when a servant enters with a 
letter and, opening it, he finds a bunch of for¬ 
get-me-nots, which recall a flood of memories 
and he at once leaves his evil assocations and 
reforms. 

52. The Dime Lunch.—J. McIntyre. 

Sketch. One act. Four males, 3 females. Can 

be played by all male cast. See Farces. 

53. Donovan and the Dago.—Harry L. New¬ 
ton. s 

Sketch. One act. Two males. Thirty min¬ 
utes. One interior. 

Donovan, washing himself after a hard day’s 
work, accidentally throws water on the Italian’s 
bananas. 

54. A Royal Initiation.—A. E. Poole. 

Seven or more male characters. One interior. 
Costumes grotesque. One hour. A very funny 
entertainment. 

55. The Unexpected Guest.—A. J. Hershey. 

Vaudeville sketch. Two males—45 minutes. 
Interior. 

Hilliard receives present from his brother, an 
inventor. He opens the large box and discovers 
within a dummy automaton. He winds it up 
and has plenty of diversion. 

56. The Depot Lunch-counter.—Frank Du¬ 
mont. 

Thirteen males, 2 females, which can be played 
by men. See Farces for description. 

57. The District Convention.—Dumont. 

Twelve males. Any number of extras may be 
added. Forty-five minutes. No special scenery. 
Costumes and properties all easy. 

The play shows an uproarious political nomi¬ 
nating convention. Opens with scene between 
Irish policeman and Swedish janitor. 

58. Bound East for Cardiff.—Eugene O’Neill. 
Eleven males. Very dramatic, tense and effec¬ 
tive, but contains too much strong language, 
which should be modified. Represents different 
types of men on a tramp steamer—their attitude 
towards death interesting psychologically. Diffi¬ 
cult. Requires character actors for Cockney, 
Irishman, Scotch, Swedish, Norwegian, Russian. 
One act. 

Royalty. Stewart & Kidd. 

59. In the Zone.—Eugene O ’Neill. 

Nine males. Also laid on board a tramp 
steamer. Man under suspicion of being a Ger¬ 
man spy—sentimental climax. Good 1 act play, 
but also marred by too realistic sailor’s lan¬ 
guage. 

Stewart & Kidd. 


[ 104 ] 




Play Catalogue 


60. Along the Quays. 

One act. Two males. 

Neat play, with a delightfully human touch. 
Translated from the French of Henri Lavedan, 
in his Five Little Dramas. 

Henry Holt. 

61. Sweeps of ’98.—John Masefield. 

Five characters. The landlady can be played 
by man. Characters historical in Irish history— 
Roche, Major Sirr, Fitzpatrick, etc. 

Macmillan. 

63. On Baile’s Strand. 

Five principal characters. See Irish plays. 

64. The Swan Song. 

One act. Two males. Interior. See One act 
plays under Advanced. 

65. The Master. —Padraic Pearse. 

See Irish. 

66. A Game of Chess. —Kenneth Sawyer 
Goodman. 

One act. Four males. Interior. 

Russian politics and intrigues. 

Frank Shay. 

67. The Hero of Santa Maria. —Ben Hecht 
and K. S. Goodman. 

See One act plays. 

68. The Brink of Silence.— Esther Galbraith. 

Four males. 

Reunion of father and son, unknown to son, 
in a gripping incident—well told. Alaska locale 
—one act, interior. In Representative One Act 
Plays. 

Little, Browne. 

69. The Gods of the Mountain. 

Ten characters, in five plays. 

Dunsany. 

70. The Tents of the Arabs. 

Eight characters. 

Dunsany. 

71. Augustus in Search of a Father. —Harold 
Chapin. 

Three males. 

Gowan & Grey, London. Baker and French, 
Agents. 50c. 

Dramatic little story. A boy who has “gone 
wrong" comes back to England from a long 
absence in the States to look up his father and 
mother—accidentally comes upon his father on 
duty as a night watchman in a London street. 
A vivid bit of drama. Characters are the boy, 
his father and a policeman. 

72. Star of Bethlehem.— Clay M. Greene in 
Four Plays (Doran). Four males. 


73. The Bogie Man. —Lady Gregory. 

One act. Two males. Easy setting. 

Two sweeps encounter each other. After much 
bragging about family, discover that they are 
first cousins. Delicious dialogue and wit. 

74. Coats.—Lady Gregory. 

Three males. 

Two country editors in a restaurant, get into 
a witty quarrel over each other’s obituary 
notices which each has prepared and kept in 
coat pocket. 

75. The Golden Doom. 

Ten males, 1 female—can be played by all 
male cast. Dunsany in Five Short Plays. 

French. 

76. Allison’s Lad. —Beulah Dix. 

Six males. Costumes, period of Cromwell. 

Young boy goes to his doom with elder com¬ 
panions, who are soldiers, applauding his cour¬ 
age. 

77. The Hundredth Trick. —Dix. 

Four males. 

78. The Captain of the Gate. 

Fine little play. One act. Six males. The 
above written by Beulah Dix in “Allison’s Lad 
and other martial interludes’’ are stirring epi¬ 
sodes of Cromwellian and other wars. For clever 
amateurs. 

“The author has most ingeniously managed 
to give the feeling of big events though employ¬ 
ing but few players.’’—Henry Holt, publisher. 

79. Three Wishes. —Thos. Wood Stevens. 

Five males. Scene, an army billet somewhere 

in France. 

A negro puts himself in a trance and succeeds 
in putting a weird atmosphere into a play ef¬ 
fectively, but the note of superstition may be 
objectionable to some audiences. (Stewart & 
Kidd.) 

80. Black Magic.— R. M. Baker. 

One act. Scene of no importance. Properties 
numerous but easy. Travesty on a sleight of 
hand performance—to be played black-face 
make-up. 

Baker. 

81. An Equal Chance. 

A clever little sketch for two gentlemen in 
one act. Interior—15 minutes. 

Baker. 25c. 

82-86. Four French plays for male characters 
only. See numbers 49, 54, 55' and 75, under 
Plays of France. 


[ 105 ] 




Play Catalogue 


87. The Labor Leader. —Corkery. 

See Irish list. Can be played all male cast. 
Two female parts are “character” bits. 

88 . The Hut. —Fannie B. Linsky. 

Comedy. Three acts. Eleven male characters. 
Easy interior. Two hours. Scene laid at a 
country health and rest retreat for men.* 


MASQUES 

1. The Masque of Comus. —See Girls’ Plays. 

2. The Masque of Pomona. —Constance Mack- 
ay. 

See Out Door list 

3. The Masque of Psyche or the Seven Ages 
of the Soul. —Winifred Ayres Hope. 

An arrangement of scenes from seven Shake¬ 
speare plays. Fifteen males, 8 females. Very 
elaborate performance for a large, talented cast. 

4. A Modern Masque. —Mary McMillan in 
More Short Plays. 

A keen satire with a distinct literary flavor. 

See Out Door Plays.* 


MIRACLE, MORALITY, MYSTERY—Plays 

1. Christus Vincit. 

A Miracle play in three scenes, dealing with 
Ireland in the year 433 A. D. Six males, 4 
female characters. 

Matre. 20c. 

2 . The Christmas Guest. — See Christmas 
Plays. 

3. A Mystery Play in honor of the Nativity 
of Our Lord. —Monsignor Hugh Benson. 

Two females and 17 male parts and choristers. 

4. A Rosary of Mystery Plays. 

Fifteen plays from the York Cycle of Mystery 
Plays as performed during the 14th, 15th and 
16th centuries. Translated by Margaret Mooney. 

Frank Evory press, Albany, N. Y. 40c. 

5. Lucius Flavius. 

A Miracle drama in five acts—21 boys, 7 girls. 

Adapted from Father Spillman’s story of that 
name. Most of the scenes are laid in Rome. 
Other scenes are in Jerusalem, the time of its 
destruction by Titus Flavius. 


* See addenda for additional plays. 


6 . Echoes from Bethlehem. —By Rev. Francis 
J. Finn. 

A miracle play. Herder. 25c. 

7. The Traveling Man. —Lady Gregory. 

In Seven Short Plays. Cast calls for a mother, 
a child and the traveling man—allegorical char¬ 
acter. 

i 

8. The Nativity. — Christmas festival ar¬ 
ranged as a\ mystery play for production by 
young or old.. 

French. 25c. 

9. The Miracle of the Corn. —Padraic Column. 

Irish miracle play. Two principal main char¬ 
acters, 1 male, 1 female, and the dream child 
who visits them. 

A study in symbolism. Aislim, the child of 
dreams, softens the heart of a miserly old father 
in famine time so that he gives of all his store 
to his poorer neighbors; the bins are miracu¬ 
lously filled. 

10. Every Woman. —W. Broewne. 

Modern morality. Fifteen males, 20 females. 
Costumes fanciful; scenery elaborate. Plays a 
full evening. As produced by Henry Savage. 

Baker. 35c. 

11. Every Man. 

Morality play. Acting version of 16th cen¬ 
tury classic. Eighteen characters, mainly alle¬ 
gorical, which may be personated by male or 
female cast. Simple stage setting. Plays 1 hour. 

Herder. 25c. 

12. Quest for Happiness.—Allan Davis. 

Modern morality. Three acts, representing 

the progress of a young girl in her search for 
fame and fortune as a singer in a great city. 

French. 60c. 

13. The House of the Heart. —Constance 

Mackay. 

Morality play in 1 act. Twelve characters. 
Time—latter half of 17th century. 

A conflict in the heart of the child between 
many guests, the characteristics that lie in every 
heart. Finally love, cheerfulness and industry 
conquer. French. 30.* 


* See addenda. 


[ 106 ] 





Play Catalogue 


NATIONAL PLAYS 

See under Arabia. 

•Chinese. 

French. 

German 

Greek 

•Indian- American. 

•Indian East-Hindoo. 

Irish. 

Italian. 

‘Japanese 

Negro. 

Oriental. 

Polish. 

Russia. 

Scandinavian. 

Spanish. 

Welsh. 

NEGRO THEATRE 

Emperor Jones.— Eugene O’Neill. 

Royalty. Stewart & Kidd. 

Also sold by Baker, 50c. 

Simon the Cyrene. —Ridgley Torrence. 

Ten males and 6 females. A wonderful play 
suitable for colored parish drama; religious in 
theme; time of crucifixion. In Plays for a Negro 
Theatre—Torrence. 

The Rider of Dreams.—Torrence. 

In Plays for a Negro Theatre. The third 
play in the volume is not recommended. 


NOVELTIES IN ENTERTAINMENT 
(See Entertainments) 


ONE-ACT PLAYS 

Advanced and “art plays.’’ 

The following are French publications, call 
for modern costume, and are listed at 30c. 

1. Playgoers. —Arthur Pinero. 

A domestic episode. One interior. Two males, 
6 females. An exceedingly clever satirical com¬ 
edy—the servant question is amusingly com¬ 
mented upon in this play. 

2. Yellow Roses. —Sir Charles L. Young. 

A dramatic sketch for two old people; a 
beautiful little episode. One male and 1 female. 


•Note: Plays of a peculiar country should 
be an aid for foreign mission or foreign relief 
entertainment. A folk play of Japan or a play 
of Russia showing true conditions is an eloquent 
plea in stirring up an intelligent appeal or sym¬ 
pathy for a people in need. Sec “God Wills It’’ 
under Pageant. 


3. An Idyl of the Closing Century. —E. Bur- 
ney. 

As produced at the Lyceum Theatre, London, 
by Cyril Maude. One male, 1 female, in which 
the ending is totally unexpected. Clever little 
duologue. 

4. Comedy and Tragedy. —W. S. Gilbert. 

In which Mary Anderson used to score as Clar¬ 
ice, the actress, who carries on a scene so well 
that she deceives her lover. Ten males, 2 fe¬ 
males and extras. 

5. ’Op-o’-me-thiunb. — Frederick Fcnn and 
Richard Pyrce. 

(This has been used by Mary Pickford on the 
screen under the tilte of Suds.) Amanda has 
great possibilities for good character actress. 
Five females, 1 male. Scene is laundry interior. 

6. The Color-Sergeant. —Brandon Thomas. 

Typical, rough East End characters—a barber, 

his son, a photographer, a barge man and Nelly, 
the orphan girl. 

7. A Maker of Men. —Alfred Sutro. 

A duologue for 1 male, 1 female. 

8. Sweet Will. —Henry Arthur Jones. 

Comedy, 1 male, 4 females. Interior. Time— 

40 minutes. Delightful little play. 

9. The Cat and the Cherub.— C. B. Fernald. 

Four males, 3 females. Very unusual play—it 

is divided into three scenes but there is no 
division in the action or movement of the play 
and it can all be played in one act. Exterior 
scene. See Chinese plays for further description. 

10. A Flower of Yeddo.— See Japanese plays. 

One male, 3 females. 

11. A Night at the Inn. 

Four male speaking parts and 4 mute parts— 
the Indian gods. A mystery play with East In¬ 
dian atmosphere although transplanted in locale 
to a lonely inn in England. Sustained, even, 
high class work required of the four actors. 

Dunsany, Sunwise Turn, New York. 

12. Cathleen ni Houlihan. —Yeats. 

Four males, 2 females. Beautifully imagined, 
effective little tragedy. 

13. On the King’s Threshold. —Yeats. 

Twelve males, 4 females. See Irish. 

14. Riders to the Sea. —Synge. 

One principal man, 3 females, men and women. 

(There is not an act nor a word but is doubly 
significant, first as part of the pictures of man¬ 
ners, and secondly, as a portrait of tragedy.— 
Ernest Boyd.) 

Elkin Mathews, Vigo St., W., London. 


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Play Catalogue 


15. The Gaol-Gate. —Lady Gregory. 

Tragedy. One male, 2 females. Fine bit of 
acting for the wife of the man who has been 
hung. Scene transpires outside the prison. 
In Seven Short Plays. 

17. Swimmin’ Pools. —See Plays for Male 
Characters. Baker & Co. 

18. The Bishop’s Candlesticks. —N. McKinnol. 

Three males, 2 females. Costumes of 1800 
period. Interior. Dramatized from incident in 
Victor Hugo’s Les Miserables. 

Story of convict who breaks into bishop’s 
house, is clothed and fed by his lordship, whose 
benevolence momentarily softens the criminal. 
Later he takes the candlesticks from shelf, is 
captured and brought back. The climax is sup¬ 
posed to be reached when the bishop informs 
the police that he had given the thief the sticks 
as a gift. Very nice play otherwise and worthy 
of presentation. French. 

19. The Birthday of the Infanta. 

Poignant little drama in Stuart Walker’s 
“More Portmanteau Adaptations.’’ From Oscar 
Wilde’s play. 

A little misshapen dwarf falls in love with the 
princess and he finds, to his secret grief, that he 
is only used by the court to make her laugh. 
Poetically and beautifully worked out. 

20. Bound East for Cardiff. —See plays for 
male characters. 

21. The Swan Song. —Tchekoff. 

From the Russian. For two male characters— 
one character is merely a “feeder.” 

A worn out actor of 68 lives over his triumphs 
and acts over some of his great parts when the 
theatre is dark after the performance, and no 
one is left but the faithful old prompter. In 
Plays by Tchekoff (Scribner), and also in Alice 
M. Smith’s Short Plays by Representative Au¬ 
thors (1920). 

22. Iosagan. —By Padraic Pearse. 

Beautiful little play. Must be reverently 
done, and last act could be omitted as it seems 
anti-climax. Requires men, small boys and very 
small boy for Iosagan, who represents Our Lord. 
See Irish list for Pearse. 

23. A Bright Morning. —(from the Spanish) 
by Serafin and Joaquin Quitero—in Poet Lore, 
Boston, vol. 27, 1916 or Spanish Authors’ So¬ 
ciety. See under Spanish. 

25. Rosalind. —James M. Barrie. 

Two females, 1 male. Interior. Time—30min. 

Nance Oldfield done over in a modern fashion, 
but this Nance does not succeed with her dis¬ 
enchantment. 


26. The Old Lady Shows Her Medals. 

One male, 3 females. Poor interior. Delight¬ 
ful yet pathetic comedy; three character ladies 
for the cast and the returned hero from the war. 

27. Barbara’s Wedding. 

The above two of Barrie’s plays in Echoes of 
the War. 

French agents for playing rights. 

28. Madretto. 

29. L’Addio. 

Stark Young. 

Stewart & Kidd. See New Orleans. 

30. A Marriage Has Been Arranged.—Alfred 

Sutro. 

Clever, brilliant comedy for one man and one 
lady; modern society. Cutting nearly a whole 
page, which is an unpleasant recital of a dark 
page in the man’s history this sparkling duo¬ 
logue is an excellant vehicle for two clever ama¬ 
teurs. French & Co. 30c. 

. 31. The Clod. 

(Washington Square plays) Doubleday, Page 
& Co., Garden City, New York. 

Character drama. (See American history plays, 
Civil war.) 

32. Ryland.— Thos. Wood Stevens and Ken¬ 
neth Sawyer Goodman. 

Five males, 2 females. The Stage Guild so¬ 
ciety, Railway Exchange building, Chicago, re¬ 
serve all rights to this play. 

Ryland, the celebrated engraver, succumbs to 
a temptation and forges a note cleverly; he is 
imprisoned and is visited by Sir Joshua Reynolds 
and Angelica Kaufman. Play valuable to a 
literary or historical society. 

(The Stage Guild, Chicago.) 

33. This Picture and That. —Brander Mat¬ 
thews. 

Small cast. 

34. Listening. 

Very tense play for 4 women. In Poet Lore 
(1917) vol. 28. (Boston), page 222. 

35. In a Balcony. —By Robert Browning. 

Two males, 2 females. Play in verse. 

Dramatic Publishing Co., Chicago. 

36. Black ’Ell, Miles Malleson. 

Tragic, grim climax as returned soldier, full of 
joy at being back in his home in England, loses 
his mind. Brilliant dialogue and big chance 
for acting in the soldier. 50c. 

37. Polly of Pogues Run. 

Historical play. (See Civil war.) 

Stewart & Kidd. 50c. 


[ 108 ] 



Play Catalogue 


38. The Price of Coal. —Harold Brighouse. 

Good play, 1 male, 3 females. Baker. 50c. 

39. Augustus in Search of a Father. 

See plays for male characters. Baker. 50c. 

40. The Maker of Dreams. —See Fantasy. 

Two males, 1 female. 50c. 

41. The Man Who Came Back. —Katherine 
Kavanaugh. 

One male, 2 females. Time—20 minutes. 

A deserter from the army (Civil war) and a 
convict after many years comes back and finds 
his daughter. She believes her father has died 
honorably as a soldier and worships his memory. 
After talking with the girl the old man goes 
on his way, leaving her to cherish her fond illu¬ 
sion. A delightful old negro mammy supplies 
the comedy. Denison. 25e. 

42. Her Tongue. —Henry Arthur Jones. 

Two males, 2 females. Very good comedy for 
small cast and with one big part—the girl who 
talks too much. French. 30c. 

43. Miss Maria. —M. B. Vosburgh. 

Comedy. Dramatized from Margaret Deland’s 

Old Chester Tales. Four women, 1 man and 4 
children (not speaking parts). Simple interior. 
Very charming play except for one line, which 
can be easily corrected, about marriage not 
being a sacrament until 1442. French. 30c. 

44. King Rene’s Daughter.—T. Martin. (From 
the Danish.) 

Six males, 2 females. Costumes fanciful. 
High class acting makes this a beautiful and 
poetic classic. Baker & French. 25c. 

45. The Pierrot of the Minute. —Poetic fan¬ 
tasy.—Ernest Dowson. See Fantasy. 

One male, 1 female. 

46. The Hero of Santa Maria. —Kenneth Saw¬ 
yer, Goodman and Ben Hecht. (Stage Guild.) 

‘ ‘ A ridiculous tragedy. ’ ’ 

Stewart & Kidd. 50c. 

47. Lonesomelike. 

Two males and 2 females. Quaint, “differ¬ 
ent” play. The Lancastershire dialect makes it 
difficult for average American audience to under¬ 
stand. French & Baker. 50c. 

French & Baker. 

48. Campbell of Kilmhor. —J. A. Ferguson. 

Four males, 2 females. See Scotch. 

49. Maid of France. —Harold Brighouse. 

Three males, 1 female. 

50. The Heart of a Clown.— See Fantasy. 


51. Bal Masque. —Oliphant Down. 

One male, 1 female. Dainty little fragment. 

52. The Philosopher of Butterbiggins. —Har¬ 
old Chapin. 

Comedy, 3 males, 1 female. One simple in¬ 
terior. Time—25 minutes. A quaint character 
comedy in which a north of England family in¬ 
cident is treated with rare humor. Broad dialect 
is required to give the play the proper atmos¬ 
phere. French. 30c. 

53. Glenforsa. —See Scotch plays. 

Two males, 2 females. 

54. On the Run. —See Irish list. 

Little gem of an Irish play. 

55. The Queen of Hearts. —Ian Hay. 

Comedy. Two males, 2 females. Simple in¬ 
terior. A charming play with four fine parts. 
The two old gentlemen offer unusual, good op¬ 
portunities for character work. Penn. 25c. 

56. Embers. —Geo. Middleton. 

Two males, 2 females. A beautiful drama of 
sentiment dealing with the influence of a woman 
upon the life of a famous man, who in turn is 
able to save her only son from destruction. 

French. 30c. 

57. Tradition. —Middleton. 

One male, 2 females. 

A play which aroused wide discussion on its 
initial performance at Berkley Theatre, New 
York. Deals sympathetically with the attempt 
of a dominant though kindly man to crush the 
artistic ambitions of his wife and daughter 
through their economic independence. 

French. 30c. 

58. America Passes By. —Iv. Andrews. 

Five males, 2 females. Time—30 minutes. 

Originally produced by Harvard Dramatic Club. 

Royalty, $5.00. Baker. 25c. 

59. The Day That Lincoln Died. —By War¬ 
ren and Hutchins. 

Five males, 2 females. Time—30 minutes. 
Piece in which the true Lincoln spirit is mov¬ 
ingly embodied. Baker. 25e. 

60. Nance Oldfield. —From Charles Reade’s 
novel, “Art.” 

A classic upon the English speaking stage. 
Three males, 2 females. Interior. Costumes 
18th century. This piece provides for the 
heroine a character of broad and varied oppor¬ 
tunity suited for the display of dramatic talents 
of the highest order. The supporting parts are 
all good, that of Nathan Oldworthy (old man) 
especially so. Baker. 25c. 


[ 109 ] 



Play Catalogue 


61. Allison’s Lad. —See plays for male char¬ 
acters. 

Six males. 

Beulah Dix. Holt & Co., New York. 

62. The Other Voice. 

Two male voices and 1 female, or 3 male 
voices. Play to be presented upon dark stage. 
(See plays for male characters.) 

63. The Matrimonial Tog. —F. C. Knox. 

Three males, 1 female. Scene, a veranda. 

Time—35 minutes. 

Jack Dunlap, an expert in the art of flirtation, 
has foolishly agreed to give a “demonstration” 
of his skill to Amy, his friend Gerald’s wife. 
A perilous war service suddenly calls Gerald, 
but Jack contrives to go in his place without 
having achieved the feat of the demonstration. 

Baker. 25c. 

Plays by Percival Wilde. (Baker & Co.) 35c. 
per copy. 

64. The Noble Lord. 

Two men, 1 woman. Exterior. Comedy in 
which the girl fails to make the expected con¬ 
quest of the noble lord. 

65. The Pinger of God. 

Two males, 1 female. Interior. 

66. The Traitor. 

Seven men. Costumes, modern and military. 

*67. Confessional. 

Three males, 3 females. Shows the severe 
temptation and struggle between duty and 
friendship of a conscientious bank cashier. Good 
play. 

68. The Villian in the Piece. 

Two males, 1 female. A futile employe and a 
very cool headed girl and a rich, cynical em¬ 
ployer figure in this piece. All interiors in 
above plays. 

*Also published by Henry Holt in Percival 
Wilde’s Confessional and Other Short American 
Plays. $1.35. 

69. The Road to Connaught. —Daniel A. Lord, 
S. J. (See Irish plays.) 

Two males, 1 female. Interior scene. Cos¬ 
tumes of the period of Cromwell. 

70. Just As Well. —J. Hartley Manners. 

One male, 3 females. Clever play for very 
clever amateurs. In Happiness and Other Plays. 

71. Happiness. —J. Hartley Manners. 

Dodd, Mead & Co., New York. 

The following three, Samuel French. 30c. 


72. The Queen’s Messenger. —Hartley Man¬ 
ners. 

One male, 1 female. One interior; 50 minutes. 
Strong play for two characters—woman, Rus¬ 
sian spy and English diplomat. On the pre¬ 
tense that she has a letter which she wants de¬ 
livered in London she takes him to her house 
and drugs him and steals the important dis¬ 
patches he is carrying. A moment of sentiment 
follows when the woman gives him back the pa¬ 
per and the danoument is happy. 

73. A Game of Chess.— Alfred Sutro. 

Interior. Thirty minutes. Scene on board 

ship, the doctor and Vivien playing at chess. 
Two clever people could make much of this 
simple little play. (Also listed in less difficult 
plays.) 

74. Cinders. —Lily Tinsley. 

One male, 1 female. A fine little play full of 
wistful tenderness and quiet tragedy. Cinders 
eccentric lead; the man has straight juvenile. 

75. Along the Quays. —See Lavedan, French 
list of plays. 

Two males. 

76. Red Turf. —Mayne. See Irish list. 

77. The Rising of the Moon.— See Irish plays. 

78. “1588”— Walter Pearce. 

Swashbuckling comedy with a fine fencing 

match and directions for the bout. Four males, 
1 female. Costumes of the period. The weak- 
kneed priest secretary could be better changed 
to a layman secretary. French & Co. 30c. 

79. A Golden Wedding. —Phillpots & Charles 
Grove. 

Comedy and very charming play. Professor 
and his wife are celebrating their golden anni¬ 
versary with an old friend who happens in, the 
admiral, who had loved the wife of the professor 
in girlhood. A quarrel results, but the wife is 
the diplomat and makes them greater friends 
than ever. Mrs. Courtley, the wife, is to be 
played daintily old fashioned, the admiral bluff 
and irritable. The professor was a part played 
by Cyril Maude in London. French. 30c. 

*80. Waterloo. —Conan Doyle. 

Character study. Old man who served in Na¬ 
poleonic wars under the Duke of Wellington 
and who lives in the memory of old battles. He 
dies on his feet, thinking he is the messenger 
sent for powder for “his beloved Third.” 
Henry Irving was noted for his work as the old 
corporal in this play. Three males, 1 female. 

*81. The Dumb-Cake. —Morrison and Pyrce. 

Whimsical little play for 1 male, 2 females. 

Martha, pathetic little heroine, who has taken 


[no] 



Play Catalogue 


care of bedridden mother for 13 years in Lon¬ 
don slums, has developed romantic imagination 
from constant reading. On Hallowe’en she 
goes through a little rite which gives the play 
its name, hoping to see her future husband. A 
thief takes refuge at midnight in Martha’s home 
during "her ceremony of the dumb cake and gives 
poor little Martha the romantic thrill of her 
young life before he escapes in the darkness. 

*82. The Phoenix. —Laurence Irving, (from 
the Russian). 

Two males, 2 females. Interior; 30 minutes. 
Delightful little play. Leading lady should be 
proficient piano artist as well as actress. An old 
love is revived when she plays a Romance by 
Rubenstein. 

*83. The Constant Lover. —St. John Hankin. 

Smart dialogue, cynical and insincere, makes 
the play a clever travesty upon modern court¬ 
ship. Easy setting. 

*French publications. 

84. The Queen of Diamonds. —Katherine 
Kavanaugh. 

Three males, 2 females. Time—20 minutes. 

A duel of wits between a noted jewel thief 
and a famous detective, both women. Excellent 
vehicle for clever actress. Denison. 25c. 

85. Hearts to Mend. —H. A. Overstreet. 

Two male's and I female. 

Fantasy. Pierrot has lost his song and inci¬ 
dentally his love for Pierette. The hearts to 
mend man enters and shows Pierrot that con¬ 
stancy and happiness go hand in hand. 

Stewart & Kidd. 

86 . Wrong Numbers. —E. Dane. See plays 
for ladies. Baker. 

87. Fleurette & Co. —See plays for ladies. 
Baker. 

88 . The Neighbors. — (See Wisconsin)—Zona 
Gale. 

Two males, 6 females. Splendid village life 
play, above the usual standard. (Baker.) 

89. A Fond Delusion. —See Ladies’ plays. 

Penn. 25c. 

90. Where But in America? —Oscar Wolff, 
185 W. Monroe St., Chicago. 

Very clever commentary upon modern life in 
America. 

91. Back of the Yards. —Kenneth Sawyer 
Goodman. 

A play dealing with "environment.” Priest 
character is well drawn and all other characters 
strong. Suitable for an experienced cast. 
Serious play—one of the problems of a big city. 

(Stage Guild Society.) 


92. The Postscript.—Emile Augier. 

One male, 2 females. "One of the brightest 
and most brilliant little one-act comedies in any 
language.”—Brander Matthews. French. 30c. 

93. The Dear Departed.— Stanley Houghton. 

Three males, 3 females. A morbid slice of 

human nature which shows up heartless relatives 
at a wake of one whom they suppose is dead. 
He ‘ ‘ comes to life ’ ’ and gives them a well de¬ 
served rebuke. Very popular with Little Theatre 
groups. 

French—Subject to royalty. 

94. My Lord in Livery. —See Farces. 

§5. Ella’s Apology. —Alfred Sutro. 

Interior; 25 minutes; 1 male, 1 female. 

Story of interesting woman, a novel writer 

of considerable fame, married to a man who 
considers himself a "failure.” In a fit of 
jealousy concerning another man and in chagrin 
at his lack of economic standing in the eyes of 
the world he is preparing to commit suicide 
when Ella breaks in and convinces her husband 
that her love for him is more profound than ever. 

French. 25c. 

96. Thef Nelson Touch. —Richard Fenn. 

Three males, 1 female. Costumes of 1800. In¬ 
terior; 35minutes. 

Samuel Denver deserts Nelson’s flagship and 
comes to the inn at his home town, renewing 
his courtship of Sara Rigley, keeper of the inn, 
and she accepts him. Nelson’s carriage breaks 
down in front of the inn and he takes up tem¬ 
porary headquarters there. The searching party 
tracks Sam to the inn. Nelson generously for¬ 
gives him and departs and Sam makes up his 
mind to return to his ship like a true Jack Tar. 

French. 30c. 

97. The Impertinence of the Creature. —Cos¬ 
mo Gordon Lennox. 

Comedy. One male, 1 female. Interior scene, 
evening dress. Ten minutes. 

Lady Millicent comes to the ball for the ex¬ 
press purpose of being introduced to her hostess’ 
brother, but a gentleman follows her from room 
to room and Lady M. greatly annoyed is very 
rude to him, only to find that he is the brother 
who has been instructed by his sister to intro¬ 
duce himself. 

French & Co. 

*98. The Amateurs. —Raymond Robinson. 

Comedy, 4 males, 1 female. Interior. Time— 
30 minutes. A wonderful little skit, a travesty 
upon the average amateur performance. The 
play given is a burlesqued bit of melodrama, the 
actors forget their lines, mix up their speeches, 
leave by the wrong entrances and commit all 
the other amateur sins that we all have known. 

Penn. 25c. 


[Ill] 




Play Catalogue 


99. Food. 

Burlesque drama, 1 male, 1 female. 

French. 30c. 

100. Bunk. —See Farce. 

101. The Fatal Necklace. —Joseph Harris and 
Harold Allen. 

Burlesque melodrama. Two males, 3 females. 
Time—25 minutes. Denison. 25c. 

102. East of Lynn, Mass. —Harry Newton. 

A burlesque on East Lynn. Seven males, 4 
females. Simple interior. Time—30 minutes. 

Denison. 25c. 

*103. It Might Happen. —Frederick Johnson. 

One male, 1 female. Exterior. Time—20 min. 
Two very clever people—should be played with 
a subtle, light touch and it will prove very ar¬ 
tistic. Denison. 25c. 

104. Entr’ Acte. 

Costume play. Time—present. Interior scene. 
One male, 2 females. Contains a song—very 
dainty. 

105. A Woman’s a Woman for a’That. 

Interior;45 minutes. Two males, 3 females. 

Mary McMillan in Short Plays, Stewart & 
Kidd. 

106. Scenes from the Great Novelists. —(Elsie 
Fogarty.) The Abott. (Scott.) The changing 
of the keys, from Mill on the Floss, etc. Baker 
& Co. 35c. 

107. Pierrot Who Laughs. —See Garden list. 

108. Decision of the Court. —Brander Mat¬ 
thews. (Harpers). 

Comedy for 1 male, 1 female. Principals and 
maid and messenger boy. 

*These plays inserted here because they are 
far too subtle to be classified in Farce list; they 
require advanced art—it being well justified 
high art to put a travesty across the footlights.— 
Editors. 

109. The Water That Has Passed. —By Edgar 
Morette. 

Dream playlet for 5 males, 1 female;35 min¬ 
utes. 

Lovers disagree over a trifle and separate. 
Fifteen years afterwards, he, unmarried and 
famous, returns to find her a widow. Instantly 
old love returns and an immediate marriage is 
planned. Time has given each decided opinions, 
and in arranging for the future they find them¬ 
selves on the verge of another quarrel and agree 
that “the mill will never grind again with the 
water that has passed.” Denison. 25c. 


110. Graft. —Harry Newton. 

Four males, 1 female;. Time—20 minutes. 

A derelict intercepts a bribe intended for his 
brother, supposedly reputable alderman. He is 
about to skip when he faces the alderman’s wife, 
who worships her husband and thinks he is the 
soul of honor. Touched by her faith he returns 
the money so as to make the politician renounce 
the bribe and be true to his wife’s belief. The 
derelict is a splendid character part. 

111. Behind a Watteau Picture.—Fantasy in 

verse—See Fantasy. 

Six males, 2 females. 

112. The Affected Young Ladies.—From the 
French. (See French.) 

Six males, 3 females. 

113. — Bonnie Dundee. —See Scotch plays. 

114. Augustus Does His Bit. —George Bernard 
Shaw. (French.) 

115. O’Flaherty, V. C. —George Bernard 
Shaw. 

116. Getting Married.— Can with cutting be 

used as one-act play—George Bernard Shaw. 

117. Suicides. —Preston Gibson. See plays 
for male characters. 

118. The Singing Soul. —See Chinese. 

Unusual, colorful, tragic Chinese-play. 

119. Some Mischief Still. —Joyce Kilmer in 
Collected Works, edited by Robert Cortes Holli¬ 
day. Also in Smart Set for August, 1914. 

120. —Beauty and the Jacobin. —Booth Tar- 
kington. 

Three males, 2 females. Skillful character 
work and adroit effects with mobs outside. In¬ 
teresting study of French aristocrats with their 
contrasts, brutes of the Commune. (Harpers). 

* 121. Gringoire. Theodore de Banville. 

Beautiful and poetical play of early France 
with a picturesque prototype of Villon for the 
hero. Five males, 2 females and extras. 

122. A Late Delivery. —Ian Hay in The Crim¬ 
son Cocoanut and other plays. 

Three males, 2 females. Refreshing little play. 

Attractive girl has two suitors, one young, 
cocksure and arrogant with youth, the elder 
shy, retiring, not sure of himself. He writes a 
letter to the girl—it is never sent, but Cupid 
intervenes in his favor by a turn of fate. 

Baker. 60c. 


* See addenda. 


[ 112 ] 




Play Catalogue 


122. Pater Noster. —Copee. 

Used by Augustin Daly under the title of the 
Our Father. (See French plays) Three males, 
3 females. 

123. The Brink of Silence. —Esther Braith- 
waite. (See Male plays.) 

124. When the Wheels Run Down. —Maud 
Rogers. 

Thirty minutes. 

Miss D. receives a visit from a former lover 
after fifteen years' absence. The lover does not 
appear on the scene. (See Plays for Ladies.) 

French. 

125. The Intruder. —Maeterlink. 

Three males, 5 females. 

A wail in a monotone. 

French. 

126. Interior. —Maeterling—Also morbid, but 
an original stage treatment. 

The action of the play is seen as by the out¬ 
siders, the villagers, looking into a room with 
long French windows. The narrative is accom¬ 
plished by actors standing outside of the house, 
looking in. Concerns the drowning of a young 
girl and of the breaking of the news to her 
family. Artistic but gloomy. 

French. 

127. The Ring. —Mary McMillan. 

Six males, 4 females. 

A play supposed to be in the days of Shake¬ 
speare, in Short Plays. 

Stewart & Kidd. 

128. The Rose. 

Beautiful play in verse. Lovely, poetic fancy. 
Two males, 1 female. Mary McMillan in Short 
Plays. 

Stewart & Kidd. 

129. Dust of the Road. —Kenneth Sawyer 
Goodman. 

An allegory. A tramp is transformed almost 
to divinity. 

Stage Guild, Chicago. 

130. The Wonder Hat. —Ben Hecht and Ken¬ 
neth Sawyer Goodman. 

Very bright and sprightly harlinqinadc—a 
subtle bit of farce. 

Stage Guild, Chicago. 

131. The Poam Maiden. — Constance D. 
Mackay. 

Fine little Irish fairy play. (See Irish list.) 

132. Four Sticks of Dynamite. —M. L. O’Cal¬ 
laghan. . 

Interesting play of the present time in Done¬ 
gal. Picturesque and colorful. (See Irish list.) 


133. Sight of the Blind.—D. A. Lord, S. J. 

A play concerning St. Brigid, a young blind 

novice and an Irish king. Beautiful. (See Gar¬ 
den plays.) 

134. Tabloid. —(See Plays for Men.) 

135. The Village. —(See French Plays.) 

136. Crispin. His Master’s Rival.— (See 

French Plays.) 

137. The Alarm. —M. R. Fawcett. 

Two males, in which each character plays a 
double role. Dramatic bit. Clever actor re¬ 
quired to play the gentle old man and his vil¬ 
lainous son. Good play for clever actors. 

Baker. 

138. The Maids of Honor. 

An incident in the career of Velasquez. 
Thomas Walsh, in Pilgrim Kings. 

MacMillan. 

139. Greco’s Last Judgment. 

Thomas Walsh, in Pilgrim Kings. 

MacMillan. 

140. The Artist. 

For 2 females, 14 men—one of these must be 
“a great pianist. 

Henry L. Mencken, Four Seas, N. Y. 

141. Hunger. —Eugene Pillot. 

Four males, 1 female. A Morality play. 

47 Workshop, Harvard University, Cambridge, 
Mass. 

142. The Little King. —Ryter Bunner. 

(See Historical Plays.) 

143. The Drums of Oode. —Austin Strong. 
East Indian locale and feeling which is inten¬ 
sified with wonderful effect by the beating of 
the natives’ war drums in the distance, con¬ 
tinuing all through the play. Very thrilling. 
Was played throughout the United States in 
Vaudeville and held'audiences spellbound. Now 
used by Little Theatre companies with great 
success. Excellent play—takes about twenty 
minutes. 

David Belasco, Belasco Theatre, N. Y. 

144. Torches. —(See Italian Plays.) 

145. Two Crooks and a Lady. —Eugene Pillot. 
Four males, 3 females. (47 Workshop Plays.) 

A real thriller—tense and exciting, though the 
main character is subdued and inactive. (See 
Plays for Handicapped.) 


[ 113 ] 



Play Catalogue 


146. The Crucifix. —Myles Murdough. 

Thrilling 1 act play. A villain is brought to 

timely retribution, but not before a striking 
scene is enacted—the priest, the villain, the 
housekeeper, who plays the organ, and the wife 
of the villain. 

Extension Magazine, July, 1922. 

147. Makeshifts. 

A tragedy of the commonplace for 2 males, 2 
females. In Representative One Act Plays of 
Great Britain and Ireland. Written by Gertrude 
Robins. 

Into the drab existence of two young girls 
comes an imaginary glamor of romance—but it 
fades as quickly as it came. 

148. Third Act of Columbus. —D. E. Doran. 

See American list. 

See Farces. 

See Fantasy. 

See French Plays.* 


ONE ACT PLAYS—Not so Difficult 

1. The Boob.— J. C. McMullin. 

A play of business life. Four males, 1 female. 
Scene, private office of the boss. Plays 40 min¬ 
utes. 

The so-called office boob is smart enough to put 
over a big deal for the office and to outwit a 
wily villain. Baker. 25c. 

2. The Copper Pot.— By F. Healy. 

In two scenes. Eight males, 5 females. Cos¬ 
tumes and scene Oriental—an Oriental street. 
Thirty minutes. 

A laughable picture of Eastern life cleverly 
written. Easily produced. 

Baker. 

3. The Silent System. —A. Dreyfus. 

One male, 1 female. Scenery unimportant. Lady 
does all the talking. Plays 30 minutes. 

Baker. 25c. 

4. A Borrowed Umbrella. —E. B. Tiffany. 
Two males, 2 females. A very bright and 

graceful little trifle. Plays 15 minutes. 

Baker. 25c. 

5. A Romance in Porcelain. —R. R. Raphael 
Comedy. Three males, 1 female. Scene, in¬ 
terior, dentist’s office. Twenty minutes. Very 
funny. 

Baker. 


6. Miss Todd’s Vampire.—W. Steel. 

Comedy. Scenery, easy, interior—30 minutes. 
Sue comes near to losing a fine young man, 

but Miss Todd finds a way to circumvent the 
vampire and block her little game. 

Baker. 25c. 

7. The Morning After the Play.—W. Steel. 

Comedy. Two males, 2 females. Interior. 
Twenty minutes. 

Baker. N 

8 . Sunset. —Jerome K. Jerome. 

Comedy. 

9. Dinner at Seven Sharp. —A. and T. Jenks. 

Comedy. Five males, 3 females. One interior. 
Forty minutes. 

Baker. 

10. King Rene’s Daughter.—(See Female 
Plays.) 

Six males, 2 females. 

* 11. Gentleman Jim. —W. R. Walkes. 

One male, 1 female. One interior. Twenty 
minutes. 30c. 

* 12. Heirs at Law. —Anthony E. Wills. 
Comedy. Three males, 5 females. Scene, New 

York City apartment—present time. A lively 
little piece. 

* 13. An Old Garden.—Hill Davies. 

Two males, 2 females. 

Two romances that are cradled in an old gar¬ 
den. 

* 14. The Wager. 

Poetic play by Giocoso. Fourteenth century 
setting and costuming. Rich interior. Four 
males, 1 female—20 minutes. 

15. The Love Pirate. —See Farces. 

16. Crispin. —By Lc Sage. 

See French Plays. 

* 17. Modesty.—Bv Hervieu. 

Comedy. Twenty minutes. Two males, 1 fe¬ 
male. Easy interior. 

A gentle, humorous satire upon certain points 
of susceptibility in human nature. 

18. Hal, the Highwayman.— H. M. Pauli. 
Period of 1752. Four males, 2 females. Cos¬ 
tumes of the period. Pretty old-fashioned ro¬ 
mance. Twenty minutes. One interior. 

* 19. The Prize. —John Bargate. 

Four females, 3 males. A delicious little satire 
upon society card-sharks. Good dialogue and 
splendid comedy situations. Thirty minutes. 
One interior. Card party properties. 

One of the best plays in this list. 

* French’s. 


*Sce addenda. 

1 ] 





Play Catalogue 


20. The Charms of Music. —Alex H. Laidlaw, 
Jr. 

Farce. Three males, 3 females. Interior, with 
a piano. 

21. A Lesson in Harmony. —Alfred Austin. 

One act. Three males, 1 female. Thirty min¬ 
utes. One exterior. 

A benignant friend, Hazlewmod, comes to the 
rescue of Leslie and his wife, the husband hav¬ 
ing grown bitter on account of “city” losses. 

22. The Real Thing. —John Kendrick Bangs. 

Harper’s. 

23. The Barrington’s at Home. —John Ken¬ 
drick Bangs. 

Harper’s. 

24. The Return of Christmas. —John Ken¬ 
drick Bangs. 

Harper’s. 

25. Pantaloon. 

Three males. 

French. 

26. The Twelve-pound Look. —J. M. Barrie. 

Two males, 2 females. 

French. 

27. The Will. 

Six males, 1 female. 

French. 

28. Polly of Pogue’s Run. —O. W. Bates. 

See Civil War List. 

Stewart & Kidd. 

29. Sham. —Frank G. Tompkins. 

Three males, 1 female—about 25 minutes. 

A burglar enters the home of tw T o social 
climbers and can find nothing worth stealing. 
A compromise is made with the burglar, who 
gets off with a valuable painting. A reporter 
has called for the story, but as he enters he is 
seen to carry the very picture the burglar stole. 
Originally produced at Arts and Crafts Theatre. 

Stew'art & Kidd. 75c. 

30. A Game of Chess. —Alfred Sutro. 

Scene is aboard ship. 

31. Coats.— (See Plays for Male Characters.) 

32. Spreading of the News— Gregory. 

See Irish. 

33. Hyacinth Halvey.— Gregory. 

See Irish. 

34. Workhouse Ward.— Gregory. 

Two males, 1 female. (See Irish.) 

35. The Jackdaw. 

Putnam. 


36. The Wrens. 

Four males, 1 female—one man and the woman 
are strolling singers. (Sec Irish.) 

37. The Golden Doom. —Dunsany. 

In Five Plays. Ten males, 1 female. 

French and Baker. 

38. King Agimenes and the Unknown War¬ 
rior. —Dunsany. 

The finding of a sword makes a captive king 
proclaim his authority. 

French and Baker. 

39. Mrs. Pat and the Law. —Mary Aldis. 

Plays for small stages. Duffield, N. Y. 

An Irish family representing drama, typical of 
Little Theatre. One male, boy, and 2 females. 

A study in sociology at the expense of the 
long-suffering Irish. 

40. The Florist’s Shop. —Winifred Hawk- 
bridge. 

Plays of Harvard Dramatic Club. Bretano. 

An amusing sketch, cleverly written. 

41. Three Pills in a Bottle. 

47 Workshop Plays. Bretano (1918), N. Y. 

42. The Ghost Story. —Booth Tarkington. 

Stewart and Kidd. 50c. Comedy in 1 act. 

43. Six Persons. —Israel Zangwill. 

Comedy. Thirty minutes. One interior. One 

male, 1 female. Clever. 

French. 

44. For Papa’s Sake.— Mel B. Spnrr. 

Thirty-five minutes. Interior. 

Harry Mathews, through a misunderstanding, 
has separated from his wife, who calls on him 
on his birthday, stating as her excuse, that her 
father is visiting her for the day, and in order 
that he may not know of the estrangement she 
requests Harry to act as though nothing had 
happened. After many ludicrous situations tho 
pair are happily re-united. 

French. 30c. 

45. Nicolete.— E. Ferris and A. Stuart. 

Forty minutes. Interior. Two males, 2 fe¬ 
males. 

Horace Villcrs hopes to make his name famous 
by the production of his opera. He is in love 
with Helene, a prima donna, who is about to 
sing in an opera by Horace’s friend, Paul La- 
mont, also in love with Helene. It transpires 
that Lamont’s opera is a stolen version of Vil- 
ler’s work. Helene discovers this and bestows 
her hand upon Villers. Helene is a real star 
part—must be able to play the piano well. The 
play calls for a harpsichord. Picturesque cos¬ 
tuming of the period. 


[ 115 ] 



Play Catalogue 


46. Time Js Money. —Mrs. Hugh Bell and 
Arthur Cecil. 

Comedy. Very amusing play—trifle out of 
date with the hansom-cab business; could pos¬ 
sibly be changed to motor. It is a 30-minute 
sketch for 1 male and 2 females. The man 
must be a live-wire comedian. 

Charles Graham, enamored of a wealthy 
widow, comes in a hired hansom to propose, and 
not having money to pay the man commands him 
to wait. The situations are highly amusing 
when the cabman finds he has been deceived. 
The maid has splendid possibilities for comedi¬ 
enne, and the widow must be clever actress, able 
to play the piano and to sing. 

French. 30c. 

The Beau of Bath and other One xYct Plays 
by C. Mackay. 

47. The Beau of Bath. 

Two males, 1 female. Twenty-minute sketch. 

48. The Silver Lining. 

One female, 2 males. Period, 1778. Fanny 
Burney chief character. 

49. Ashes of Roses. 

Two males, 3 females. An episode in the life 
of Kitty Clive, the famous singer and actress. 

50. Gretna Green. 

One male, 2 females. 

51. Counsel Retained. 

Edmund Burke and Pcgg Woffinton, chief 
characters. Two males, 1 female. 

52. Prince of Court Painters. 

Chief character, Romney. One male, 2 fe¬ 
males. 

Illustrated with portraits. Suitable for 
presentation by colleges, historical societies, etc. 
Though they should be simply given, they afford 
good scope for beautiful costumes and scenery. 

Holt & Co. $1.30. 

53. To Oblige Benson. 

Comedy. Three males, 2 females. 

French. 

54. Ruth’s Romance. 

Two males, 1 female. 

French. 

55. Two Can Play at That Game. 

From the French. Two males, 1 female. 

(See French Plays.) 

56. The Electric Man. —C. Hannan. 

Extremely funny farce. Three males, 2 fe¬ 
males—26 minutes. 

Splendid opportunity for droll comedian on 
the order of Fred Stone’s wonderful Scare Crow 


impersonation. This actor has a dual role, the 
automaton, who comes to life, and Walter, the 
owner of the mechanical man, a rather dissi¬ 
pated young fellow. 

French & Co. 30c. 

57. A Wire Entanglement. 

Two males, 2 females—20 minutes. A court¬ 
ship over the wire that ends very satisfactorily. 

French & N Co. 

58. Barbara.—Jerome K. Jerome. 

Two males, 2 females. One interior—1 hour. 

Touching little play. Barbara and Leslie both 
love Cecil. The scene of Barbara’s renunciation 
is very pathetic. 

Published by French and Penn. 

59. The Pipe of Peace.—Margaret Cameron. 

Comedy. Interior. Thirty minutes. One 

male, 2 females. 

Mrs. T., who has a penchant for antiques, 
trades off her husband’s favorite meerschaum 
pipe for an old mahogany chair. He gets the 
pipe back, but resolves to give her a lesson, but 
she turns the tables on him in the end. Bright 
and clever. 

French. 30c. 

60. The Best Man.—E. M. Crane. 

Comedy. Interior—20 minutes. Two males, 2 

females. 

Forde, bridegroom, and Bradley, best man, 
arrive at the church for the wedding rehearsal. 
Forde is melancholy and he confesses to Bradley 
that he has proposed to the wrong girl—that he 
loves her sister, Marion. Bradley, who is in 
love with the bride-to-be, convinces Forde that 
they must change places. 

French. 

61. Man Proposes. 

Delightful little play. Paul Lester Ford 
(Dodd, Mead & Co.) in Tattle Tales of Cupid— 
30 minutes. Interior. Four males, 3 females. 

62. The Changeling.—W. W. Jacobs and H. 
Sargent. 

Adapted from Jacobs’ Story. Two males, 1 
female. Interior. Thirty minutes. 

French. 

63. Admiral Peters.—W. W. Jacobs and 
Horace Mills. 

Two males. One female. 

French. 

64. Perhaps.—Grave Livingston Furniss. 

Comedy. Two males. One female. Interior. 

Thirty minutes. 

Kitty, a crook’s wife, reforms her husband 
and beats a criminal lawyer at a little game. 

French. 


[ 116 ] 



Play Catalogue 


65. An Amateur Triumph. —Paul O. Davis. 

Comediette. One male, 1 female. Twenty- 

five minutes. Interior. 

A husband discovers in his wife a longing to 
appear as a theatrical star. To show her how 
absurd are her aspirations he comes to her in the 
disguise of a Hebrew manager, who offers her a 
part in a play. She is tempted, but her love for 
her husband, in the end, makes her refuse. 

Penn. 25c. 

66. Is Your Name Smith? —Edith Dunton. 

Five males, 3 females. Amusing little skit. 

Penn. 25c. 

67. Hidden Harmonies. —Evelyn Simms. 

Comedy. Two males, 3 females. Interior. 

A father insists upon having a musical son-in- 
law, while his daughter refuses to marry a man 
with this accomplishment. Excellent opportunity 
to display musical talent. 

Denison. 

68. Miss Civilization. — Richard Harding 
Davis. 

Four males, 1 female. Interior. 

One woman captures a handful of burglars 
adroitly in this play. 

French. 

69. A Watch, a Wallet and a Jack of Spades. 
—Lindsey Barbee. 

Comedy. Three males, 6 females. Forty min¬ 
utes. A Mystery play, easily produced by ama¬ 
teurs, and very effective. 

Denison. 25c. 

70. The Lady of the Opera House. —Fanny 
Cannon. 

Drama. Two males, 2 females. Thirty min¬ 
utes. Interior of a studio. 

Artist falls in love with an ideal, but when 
she is realized he finds his ideal has been a fel¬ 
low artist who has helped and inspired him un¬ 
selfishly, all along. Gladys Leslie, the lady ot 
the opera house, has heavy role—adventuress 
type. 

Denison. 25c. 

71. Eight Comedies for Little Theatres.— 

Percival Wilde. 

In which are recommended The Previous En¬ 
gagement, The Dyspeptic Ogre, In the Net, 
Catesby, His Return, Embryo. 

Little, Brown. Sold by Baker. $1.60. 

Mothers on Strike. —Carl Webster Pierce. 

Scene, a living room. Two males and 1 boy— 
2 females and a young girl. A very worth while 
play—homely and plain in its truth but driving 
home a very vital message. 

Baker. 35c. 


Six Cups of Chocolate. —Edith V. B. Matthews. 

Baker. 25c. 

A Fan and Two Candlesticks. —By Mary Mac¬ 
Millan. 

A play in 1 act. 

Stewart & Kidd. 50c. 

The Loving Cup. —Alice Brown. 

Four males, 9 females and extras. Exterior 
scene. 

Splendid little play with opportunities for 
character work from large cast. Sweet, whole¬ 
some little story. A play that will delight any 
miscellaneous audience. Several violin solos, 
old songs and a Virginia reel for a finale are 
introduced in the play. 

Baker. Royalty, $5.00. 35c per copy. 


VOLUMES OF ONE ACT PLAYS 

Contemporary One Act Plays, 1921 (Ameri¬ 
can), Stewart and Kidd. Contains Napoleon’s 
Barber, Tickless Time (Glaspell-Cook), The 
Hero of Santa Maria, Two Slatterns and a King, 
Sir David Wears a Crown (Stuart Walker), etc. 

The Atlantic Book of Modern Plays, contain¬ 
ing, Spreading the News, Captain of the Gate, 
Lonesome-like, Campbell of Ivilmhor, Fame and 
the Poet, Gettysburg, Riders to the Sea, and 
others. 

Baker. $2.10. 

Contemporary One Act Plays (B. Roland 
Lewis), containing Twelve Pound Look, Tradi¬ 
tion, Hyacinth Halvev, The Boor, Manikin and 
Minikin, Moonshine, Modesty, Where But in 
America, Far Away Princess, and others. 

Baker. $2.10. 

Fifty Contemporary One Act Plays (Shay- 
Loving), containing The Pot Boiler, (Alice Ger- 
stenberg), Enter the Hero, The Shepherd in the 
Distance (pantomime), Aria da Capo, Sham, The 
Medicine Show (Stuart Walker), The Finger of 
God (Percival Wilde), The Little Stone House, 
Pierrot of the Minute, The Constant Lover (St. 
John Hankin), Workhouse Ward (Gregory), The 
Boor, A Sunny Morning (Quiteros—from the 
Spanish). 

Stewart & Kidd ,and Baker. $5.20. 

One Act Plays by Modern Authors (Helen L. 
Cohen), containing Beauty and the Jacobite 
(Booth Tarkington), Pierrot of the Minute, 
Maker of Dreams, Gettysburg, Wurzel-Flummery 
(A. A. Milne), Maid of France (Brighouse), 
Spreading the News, Welsh Honeymoon, The 
Boy Will, Riders to the Sea, A Night at an Inn, 
The Twilight Saint, Masque of Two Strangers, 
Fortune and Men’s Eyes. Baker. $2.35. 


[ 117 ] 



Play Catalogue 


Representative One Act Plays by American 
Authors (Mayorga), containing Sam Average, 
Voices, In the Zone, Lima Beans, Suppressed 
Desires, A Question of Morality, Ryland, Six 
Who Pass While the Lentils Boil, Allison’s Lad, 
Hunger, The Brink of Silence, Mrs. Pat and the 
Law, The Wonder Hat (Ben Hecht and Kenneth 
Goodman), Where But in America. 

Little, Brown & Co. $3.15. 

Special note—Plays not mentioned in volumes 
or collections are not recommended. 


One Act Plays of Medium Difficulty—Continued 

71. Tame and the Poet. 

Two males, 1 female—and the crowd outside. 
Dunsany in Atlantic Best Plays of 1921-22. 

Satire. Fame shows the Poet what the crowd 
admires. 

72. At the Church. 

One male, 1 female, and Pan and Minerva. 

73. His Second Girl. 

Three males, 3 females. Contains the spirit of 
humor, something of subtlety and something of 
fantasy. Mary McMillan in More Short Plays. 

Stewart, Kidd. 

74. The Whole Truth. —L. Barbee. 

Comedy. Five males, 4 females. Forty min¬ 
utes. 

At a dinner party on a midsummer eve a wish 
is made that each guest for the evening speak 
nothing but the truth. Complexities arise—the 
bogus English lord is unmasked, the mystery of 
the heiress is solved. 

Denison. 25c. 

75. Sunset. —Jerome K. Jerome. 

Interior—50 minutes. 

Two half-sisters, devotedly attached to each 
other, have been separated for a time. When 
they meet, each confesses to a love affair. They 
find their ideals are similar when they discover 
that they are in love with the same man. 

Penn and Baker. 25c. 

76. The Cratchit’s Christmas Dinner, etc.— 

See Scenes from the Great Novelists. 

77. Dinner at Seven Sharp.—Tudor Jenks. 

Five males, 3 females. 

Baker. 25c. 

78. Mr. Spriggs’ Little Trip to Europe.— 

Bertha Wilson. 

Comedy. One male, 10 females, or if desired, 
1 male, 1 female, the latter impersonating the 
ten characters in succession— iy 2 hours. In¬ 
terior. Costumes to suit the characters who 
appear in various European costumes. 


Mr. Spriggs, a bachelor, falls asleep and 
dreams of difficulties with a jealous wife, of 
maidens of various foreign countries, Russian, 
French, Japanese, etc., who make love to him in 
characteristic fashion. An exceedingly pictur¬ 
esque little sketch without any special drama. 
Fine opportunities for specialists in different 
dialects. 

Penn. 25<^. 

79. Commission.—Weedon Grossmith. 

Comedy. Two males, 2 females—45 minutes. 

Studio scene. 

In order to obtain a commission of a portrait, 
which would otherwise have been lost, Marshall, 
an amateur artist, assumes the name of Thangen, 
with whom he is sharing the studio—T. being 
in Rome. While painting the subject he falls 
desperately in love with her, and when she finds 
out the deception a great deal of explanation is 
necessary before a reconciliation is affected. 

French. 30c. 

80. The Teeth of the Gift Horse.—Margaret 

Cameron. 

Comedy. Easy interior. Forty minutes. Two 
males, 4 females. 

A newly married couple have received a pair 
of hideous vases from an aunt from whom they 
have great expectations. The wife sells them at 
a rummage sale and then the aunt cames to visit 
them. Their explanations and the absence of 
the vases and the endeavors to recover them 
lead to most laughable situations. 

French. 30c. 

81. “Poor Old Jim.” 

Two males, 1 female. 

Jim imbibes not wisely, but too well, and his 
wife, driven to desperate measures, takes mat¬ 
ters in hand to teach him an effective lesson. 
Awakoning from a sleep on a sofa upon his re¬ 
turn from an evening at the club, Jim overhears 
his wife discussing his (Jim’s) death with the 
Doctor. When Jim speaks, they pretend not to 
hear him, until Jim really believes he is dead, 
and tries to talk with his wife by pretending to 
be a spirit and rapping. Jim at last gives his 
promises to be a wiser and better man. 

French. 30c. 

82. Sweet Will. —Henry A. Jones. 

Fifty minutes. Interior. One male, 4 females. 

Will and Judith secretly love each other. Will 
never can disclose his feelings because he is, by 
the fault of his father, reduced to poverty. 
Will’s mother advises Judith to pretend to ac¬ 
cept another suitor. Although this apparently 
makes matters worse, it afterwards leads to a 
satisfactory conclusion. 

French. 25c. 


[i2S] 



Play Catalogue 


83. Rosalie.—See under French Plays. 

One male, 2 females. 

84. Two Slatterns and a King.—Eva St. Vin¬ 
cent Millay. 

A play in a philosophical trend. The king 
believes that he shall find a good housewife ac¬ 
cording to the old-fashioned idea that he who 
runs may read. 

Stewart, Kidd. 

85. Enter the Hero.—Theresa Helburn. 

In Frank Shay's and Pierre Loving’s Fifty 
Contemporary One Act Plays. 

Stewart, Kidd. 

86. A Dramatic Evening.—John K. Bangs. 

Four males, 4 females. 

The Perkinses are going to the theatre, for¬ 
getting that it is the evening for the club to 
meet with them. 

Baker. 25c. 

87. A Fatal Message.—John K. Bangs. 

Comedy. Five males, 4 females. 45 minutes. 

The Perkinses and some of their friends give 

an amateur theatrical performance and the piece 
shows how the whole house is upset and the fun 
of rehearsals. 

Baker. 25c. 

88. Oh, Helpless Man!—Edgar Morette. 

Comedy. Two males, 2 females. Fifty min¬ 
utes. Simple interior. 

The motif is the present day housing problem. 
Landlady and expressman both good comedy 
parts. 

Baker. 25c. 

89. First Aid to the Injured.—W. G. Sutphen. 

Farce. Two males, 4 females. Forty minutes. 

Scene is the hall of the golf club. 

Heated discussion over which club to use has 
broken the engagement of one couple and several 
other of the players get into difficulties giving 
first aid on the links to injured members.* 

Baker. 25c. 


ONE ACT PLAYS—Easy 

1. A Trick of the Trade.—Alice Brower. 

An episode in one act. Two characters, the 
girl, the matinee idol. Interior. Twenty min- 
utes. 

An unexpected turn gives the play a fine little 
touch. Recommended highly. 

French. 30c. 


2. Who Wins the Bet?—By John M. Francis. 
A query in one act, 2 males, 1 female. Simple 

interior. This amusing little mystery-comedy 
concerns the possession of a necklace and in¬ 
volves a pair of theatre tickets, two lovers and 
a burglar. All the elements of a popular success. 
French. 30c. 

3. I’m Going.—From the French of Tristian 
Bernard. (See French plays.) 

4. The Christmas Burglar.—Mary II. Flanner. 

Three males, 1 female. Concerns the story of 
how a thief was brought back to an honest life 
by seeing the kindness shown to his child. The 
scene of action is on Christmas eve. 

5. Twenty Minutes Under An Umbrella.—A. 
Dubourg. 

One male, 1 female. One exterior. 

6. The Mouse Trap.—W. D. Howells. 

One male, 6 females. Interior. One of the 
liveliest and funniest of Howell’s farces. 35c. 

7. The Albany Depot.—Howells. 

Three males, 3 females. 35c. See Farces. 

8. A Previous Engagement. 

Two males, 2 females. Interior. 35c. 

9. The Unexpected Guest.—Howells. 

Seven males, 6 females. Interior. 

French. 35c. 

10. Please Pass the Cream.—Chas. N. Holmes. 

One male, 1 female. One interior—20 minutes. 
A play of words—a dialogue between a quar¬ 
relsome husband and wife, showing that it takes 
two to make a quarrel. Denison. 25c 

11. The Last Rehearsal.—I. J. Crandall. 
Comedy, 2 males, 3 females. One interior. 

Twenty-five minutes. A turbulent rehearsal 
where a real quarrel between a petted star and 
an obstinate authoress is staged which threatens 
the wreck of the amateur production. But the 
stage manager is a diplomat and the day is 
saved. Denison. 25c. 

12. Tomorrow at Ten.—Lindsey Barbee. 
Comedy, 1 .male, 1 female. Twenty minutes. 
A girl tells a man she has a rendezvous with 

death and has promised to kill herself tomorrow 
at ten. During the play it develops that she is 
a girl of the films and that she is explaining a 
scene of the play, etc. Denison. 15c. 

13. After Twenty Years.—Helen Booth. 

One male, 2 females. Interior—20 minutes. 

A pretty incident bringing in the old song, 
“Then You’ll Remember Me.” Penn. 15c. 


[ 119 ] 


*See addenda. 




Play Catalogue 


14. A Pair of Gloves.—R. C. V. Meyers. 

Farce, 3 males, 2 females. Interior. 

Penn. 15c. 

15. A Soft Black Overcoat with a Velvet 
Collar.—R. C. V. Meyers, comedietta. 

Two males, 2 females. Mistaken overcoats 
lead to unfounded jealousies. 

Penn. 15c. 

16. Cin’ m’ Buns.—F. H. Schreiner. 

Two males, 2 females. Interior—20 minutes. 

Prue meets her “ideal" by accident, takes 
him for the new organist and feeds him with 
buns, but her romance survives this mischance. 
All straight characters. Baker. 25c. 

17. Converting Bruce.—E. F. Broomhall. 

Two males, 2 females. Interior—20 minutes. 

Bruce says all girls are double-faced, saying 

one thing to you and another about you. His 
chum Jack proves to him that Peggy Lee is an 
exception. Bright and entertaining. 

Baker. 25c. 

18. Six Who Pass While the Lentils Boil.— 

Stuart Walker. See Fantasy. Stewart & Kidd. 

20. Rooms to Let.—B. N. Beebe. 

Three males, 4 females. Interior; 30 minutes. 

French. 30c. 

21. The White Elephant, Comedy.—Margaret 
Cameron and Jessie L.Rector. 

Two males, 3 females. Interior—30 minutes. 

The dilemma of a woman who sent a fine 
piece of statuary to a white elephant sale and 
the troubles that ensued. A very lively in¬ 
teresting piece. French. 30c. 

22. Love in a Railway Train.—Frank Stay- 
ton. 

One male, 1 female. Scene, any room, any¬ 
where. Properties—half a dozen chairs. 

23. Grandmother’s Gown. 

One male, 1 female. One interior. Properties, 
one dress of the second empire and large hat 
trimmed with cherry colored ribbons. Time—17 
minutes. Pretty little play hinging around an 
old costume which the heroine puts on and melts 
her old guardian’s heart. 

24. A Straw Man.—See Farces. 

25. Dane’s Dress Suit Case.—R. C. V. Mey¬ 
ers. 

Farce, 2 males, 1 female. All parts young 
and well dressed. Lots of action. Baker. 25c. 

26. Freezing a Mother-in-Law.—T. E. Pem¬ 
berton. See Farces, Baker. 


27. The Lost Silk Hat. 

Fantastic comedy, 5 males. See Plays for 
male characters. See Farces. 

28. Please Omit Flowers.—N. L. Foster. 

A character comedy, 5 males, 2 females. One 
simple interior scene—20 minutes. Wherein an 
elderly gentleman is effectively cured of his 
imaginary ailments. French. 30c. 

29. The Dress Rehearsal.—Mrs. S. F. Carroll. 

Spirited comedy, 2 males, 4 females. Time— 
1 hour. Easily set interior. 

Preparations are being made for a dress re¬ 
hearsal for private theatricals. Many things go 
wrong and the telephone is used by persons 
unable to come to rehearse their speeches. Tom, 
the fiance of the heroine, arrives unexpectedly 
and a very interesting situation develops. 

Penn. 25c. 

30. Proposing By Proxy.—Harold Montague. 

Comedy, 1 male, 1 female. Interior—18 min. 

Jim Ford, an author, receives a letter from 

his brother George, asking him to propose to 
Mabel Hudson, a wealthy heiress, on his behalf, 
as George is too shy to do so. In an interview 
with Mabel Jim finds he is in love with her 
himself and after an amusing scene is accepted, 
but not as proxy for his brother. French. 30c. 

31. Raising the Wind.—W. H. Neall. 

Comedy, 4 males, 3 females. Forty minutes. 
Scene easily set. Delineation of the tribulations 
of an impoverished playwright in his effort to 
organize a dramatic company. Opportunities 
for specialties in singing, etc. Penn. 25c. 

32. Before the Play Begins.—Georgia Earle. 

Comedy, 2 males, 1 female. Time—15 minutes. 
Rehearsing a love scene in an amateur play is 
the basis of this comedy. Denison. 15c. 

33. The Faraway Princess.—Herman Suder- 
mann. 

Two males, 7 females. French. 60c. 

34. Our Aunt Robertina.—M. K. Dallas. 

Comedietta, 4 males, 3 females. A plain in¬ 
terior. Plays 30 minutes. 

An English tourist finds a trunk belonging to 
an elderly lady and putting on her clothing 
masquerades as Aunt Robertina. Baker. 25c. 

35. The Morning After the Play.—W. Steell. 

Comedy, 2 males, 3 females. Scene, a pretty 
interior. Plays 20 minutes. Baker. 25c. 

(Also in medium-difficult list.) 

36. The Leading Lady.—A. Fallon. 

Two males, 3 females. One interior. Time— 
35 minutes. Baker. 25c. 


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Play Catalogue 


37. Not At Home.—B. L. C. Griffith. 

Sketch, 2 males. See plays for male charac¬ 
ters. 

Denison. 15c. 

38. Snowed Up With a Duchess. 

French. 25c. 

39. The Wrong Side of the Road. 

One male, 1 female, and voices outside. In¬ 
terior. Time—15 minutes. French. 30c. 

40. Nice Quiet Chat. 

Comedietta for 3 ladies. See Plays for Ladies. 
See Plays for Girls. See Farces. 

Comedietta for 3 ladies. 

41. Brown Paper Parcel. 

For 3 ladies. Interior. Time—15 minutes. 

42. First Aid to the Wounded.—(Montague). 
One male, 1 female. Time—20 minutes. 
As result of a bicycle accident Martin arrives 

at the doctor’s for treatment, mistakes doctor’s 
daughter for nurse, and she renders first aid in 
amusing manner. French. 30c. 

43. The Peacemaker.—Elizabeth Lavender. 
Two males, 3 females. Plays 40 minutes. 
A play with five equally good parts. Could 

be made interesting by the most inexperienced 
amateurs. Elizabeth Lavender, a spinster of 35, 
a “Miss Fixer,’’ who brings two lovers together 
after a prolonged quarrel and has a romance 
herself. Maid is a character part. French. 30c. 

44. Acacia Cottage.—B. Orange. 

Comedy, 1 male, 4 females. Interior; 20 min. 
The Marker family are anxiously awaiting the 
initial visit of a gentleman recently become en¬ 
gaged to a daughter. Herr Schmidt reads Azalea 
for Acacia and comes to give lessons in music, 
is mistaken for the future brother-in-law and 
trouble ensues. French. 30c. 

45. Evening Dress.—W. D. Howells. 

Farce, 2 males, 3 females. Simple interior. 
French. 35c. 

46. A Likely Story.—W. D. Howells. 

Two males, 4 females. Simple comedy, easy 
to produce. Simple interior. French. 35c. 

47. Wanted—A Hero.—Chas. Townsend. 
Sketch, 1 male, 1 female. Twenty minutes. 
Daisy’s sweetheart, Jack, is told by her that 

he is fit only to spend money. He cleverly dis¬ 
guises himself as a tramp and proceeds to show 
his ability as an actor, etc. Songs may be in¬ 
troduced. Denison. 15c. 

48. An Economical Boomerang.—W. H. Neall. 
Comedietta, 3 males, 3 females. Plays 40 

minutes. Costumes and scenery easy. 


Mr. D.’s plea for economy induces his wife 
to attempt her own dressmaking. She uses her 
husband as a figure for draping, and while thus 
engaged callers enter unannounced. A funny 
scene results. Penn. 25c. 

49. The Bicyclers.—John Kendrick Bangs. 
Comedy, 4 males, 3 females. Plays 45 min. 

Action takes place in one scene—drawing room. 
Efforts of a beginner at cycling and the con¬ 
sequences is the theme. Baker. 25c. 

50. A Chafing Dish Party.—J. K. Bangs. 

Four males, 3 females. Plays 40 minutes. 
Baker. 25c. 


ORIENTAL (In General) PLAYS 

The Gods of the Mountain.—Dunsany.—See 
One-act. 

Gods of the Mountain and Other Plays.—(Lit¬ 
tle Brown.) 

Tents of the Arabs.—See Chinese and Japa¬ 
nese. 

A Thousand Years Ago. 

Fantastic play, oriental in theme and in idea. 
Beautiful stage pictures; poetic. Opportunity 
for fine spectacle—beautiful costuming and 
Arabian nights’, color and effects. 

Percy Mackaye. French. 75c. 

The Copper Pot.—See Arabia (Baker). 

Scene, an Oriental street. Eight males and 5 
females. Plays half an hour. 

A Woman’s Wiles.—W. M. Young. 

One act, 2 males, 1 female. Interior. Plays 
30 minutes. Costumes modern and Moorish. 

Abdallah, Algerian, comes into the possession 
of a book telling him of the wiles of women. 
His wife wants a certain gold chain, and which¬ 
ever shall receive something from the other 
without saying a certain word shall pay a 
forfeit. Through a trick, which is the theme of 
the story, she gives him an article without him 
saying the word, and he has to buy the chain. 

French. 30c. 

The Seige.—In Treasury of Plays for Women. 

Three females. 

(Little, Brown & Co.) 


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± 


Play Catalogue 


OPEN AIR—Out-of-Door Theatre 

Plays suitable for out of door presentation 
with impromptu settings, porches, lawns, gravel 
paths (as distinct from Plays for a Garden). 

1. Pageant of the Hours. 

An out of-doors play in one act. Time, early 
June. Fourteen characters. The twelve hours 
pass by the child, each representing and reciting 
her particular activity. French. 25c. 

2. The Sight of the Blind.—Daniel A. Lord, 

S. J. 

The scene represents the exterior of an old 
convent, a staircase leads down at the side of 
the building to the lawn. Very fine for out of 
door presentation; has been done by the pupils 
of a St. Louis convent with wonderful effect. 
Choir of nuns sing at intervals during the play 
inside the convent. 

Daniel A. Lord, St. Louis University. 

3. Engaged By Wednesday.—G. A. Owen. 
Farce, 3 acts, 5 males, II females. All ex¬ 
teriors. Baker. 35c. 

4. The Piper.—Josephine Preston Peabody. 
Play in 4 acts, 13 males, 6 females and any 

number of children. 

French. $1.35. (Royalty). 

5. The Enchanted Wood.—Fanny Newberry. 
Scenes, country road and a wood. Music by 

T. M. Towne. Mother Goose characters, police¬ 
men and fairies. Costumes easily made at home. 
Any number of children. Plays 1% hours. 

Denison. 35c. 

6. The Noble Lord.—Percival Wilde. 

Two males, 1 female. Excellent for an out-of- 
door afternoon. (Henry Holt and Baker). 

7. The Romancers.—Edmond Rostand. 

Three acts. Exterior scene with a garden wall. 
Baker & French. 

8. The Hostage.—See Civil War plays. 
Exterior of a colonial home during the Civil 

war days in south. 

9. Indian Plays.—See under Indian list. 

10. The Princess.—Tennyson. 

Eight males, 4 females. Baker. 

11. The King’s Threshold.—(See also under 
Irish). 

Exterior of a king’s palace with a flight of 
steps into the palace for background. Very 
effective and beautiful for out of door perform¬ 
ance. 

12. Rising of the Moon.— (Sec Irish.) 
Exterior scene—night—a quay. 


13. The Goal Gate.—(See Irish.) 

Outside a gaol in a lonely part of Ireland. 

14. Spreading the News.—See Irish list. 

15. Hyacinth Halvey. 

An exterior scene. See Irish list. 

16. On Baile’s Strand.—See Irish list. 

17. Pericles.—See Shakespeare. 

18. Comus.—John Milton. 

Nine characters and chorus. See under Plays 
for Girls. 

19. Plays of the Pioneers. — Constance 

Mackay.—See under American list. 

20. A Rumpus on Olympus.—Penn. 

See Plays for Girls. 

21. Dispatches for Washington. 

Porch for a setting. Baker & Co. 

22. Ingomar.—M. Lovell. 

Play in five acts,, 13 males, 3 females. Sea- 
coast and landscape scenes. Old play of Greece, 
Grecian costumes. Printed from prompt book of 
Julia Marlowe. Plays full evening. Baker. 25c. 

23. Ingomar.—Published by French & Co. 
25c. 

Parthenia.—Leading female character a fam¬ 
ous role of Mary Anderson. 

Greek Costume Plays for Lawn Perform¬ 
ance.—M. N. Crompton, Mrs. Gaddes, etc., con¬ 
taining: 

Antigone.—Five males, 3 females. 

Ceres.—(Crompton.)—Two males, 12 females. 

Convention of the Muses.—(Bates.)—Nine 
females. 

Pandora.—(Crompton.)—Four males, 3 fe¬ 
males. 

Theseus.—(Crompton.)—Seven females and 
supers. 

The Ivy Queen.—(Gaddess.) 

29. The Revels of the Queen of May and Her 
Fairies.—Gaddess. 

One boy, 45 girls. Baker. 35c. 

30. Pandora.—(M. N. Crompton.) 

Four males, 3 females. Plays 1 hour. 

Introducing music and tableaux. Baker. 25c. 


[ 122 ] 



Play Catalogue 


31. Ion.—See Greek. 

A Greek play to be performed in a Greek 
theatre. Tragedy in five acts, 10 males, 3 fe¬ 
males. French. 

32. Endymion.—See Greek. 

33. The Gift.—Margaret Douglas Rogers. 

Poetical drama divided into two short acts— 

action of first takes place in a charming wood¬ 
land, the second just before the house of Epi- 
methus. Ideal play for Peripetical theatre. 
The story of Pandora. Characters are: Nine 
muses: Apollo, Epimetheus, Mercury, Prome¬ 
theus, Cupid, Pandora. There are also Voices, 
Imps and Hope. The context of play, although 
beautifully written, savours slightly of pagan¬ 
ism, Pandora being the symbol of the first 
woman. Some lines could be cut. Three-quar¬ 
ters of an hour required for presentation. 

Stewart & Kidd. 

See Morality plays, Everyman, etc. 

34. The Gate of Wishes.—Mary McMillan, in 
Short Plays. 

35. The Straw Man.—See Farces and Easy 
One-act plays. 

36. Midsummer Night’s Dream.—See Shakes¬ 
peare. 

37. As You Like It.—See Shakespeare. 

38. Pan Pipes.—Constance Wilcox, in Told in 
a Chinese Garden.—See Garden. 

39. The Goose Herd and the Goblin. 

One act, 8 characters. Intended primarily for 
outdoor production in early Spring or Fall. 

A little gooseherd wishes to be a prince. 
When the fairies grant him this wish and he 
sees what deprivations go with it, he is glad to 
resume his own shape. French. 35c. 

40. Miss Nelly of N’ Orleans.—See under 
Drama. 

Entire play takes place in a courtyard of an 
old New Orleans home. Big play. Difficult. 

41. Devorgil.—Lady Gregory. 

Scene—Lawn outside an old house. 

42. Deidre.—Yeats.—See Irish plays. 

Scene represents a clearing on top of a hill, 
over which all the characters make their en¬ 
trance. It is a night scene with a fire burning. 

43. The Rainbow’s End.—Daniel A. Lord, 
S. J. 

Scene also requires a hill over which char¬ 
acters enter and exit; beautiful fairy play—an 
exquisite idyl for outdoors. 


44. The Peep o’ Day Boys, or Savoureen 
Deelish.—See Irish. 

All the scenes are exteriors. 

45. Hanging Out the Wash. 

Comedy, 2 females. Any back yard or court¬ 
way. Plays 25 minutes. Very funny. See 
Ladies. Penn. 25c. 

46. Twenty Minutes Under An Umbrella. 

One male, 1 female. French. 30c. 

47. The Man Who Came Back.—See One-act. 
plays. 

One male, 2 females. Colored mammy sup¬ 
plies the comedy. Scene represents lawn in 
front of a house. Denison. 25c. 

48. The Pikeville Centennial. 

Sixteen males, 12 females and villagers. Any 
exterior. Plenty of comedy and chance for spe¬ 
cialties. Time—1 % hours. Denison. 25c. 

49. Sweethearts.—W. S. Gilbert. 

Comedy, two acts, 2 males, 2 females. Any 
exterior, the same for both acts with slight 
changes in a few stage properties to denote 
passage of time. First act represents young 
people and last the same people grown old. 
Plays 1 hour. Penn. 25c. 

50. Swimmin’ Pools.—Belford Forest. 

Five male characters. Scenery, an exterior 
with an ash-heap and a bonfire—night scene. 
Dark stage is essential for best effect of the 
artistic little play. Baker. 25c. 

51. A Bird Play.—Nellie Spangler. 

Any number of children representing birds. 
Penn. 25c. 

52. Crowning of Flora. 

Spring exercise suitable for May day, closing 
or any spring festival; cantata. Penn. 25c. 

53. Constant Lover.—St. John Hankin. 

One male, 1 female. Satirical comedy, 
sophisticated little pastoral. Good for outdoor 
setting. Any exterior will answer. 

French. 30c. 

54. A Modem Masque.—Mary McMillan in 
Short Plays. Stewart & Kidd. 

Clever satire. Shaw, Joseph Addison, Shake¬ 
speare, Spirit of Poets, Drama, Spring and the 
spirit of Women are the characters. In an inti¬ 
mate outdoor theatre this play would be ex¬ 
cellent. The lines are brilliant. It is a play for 
the knowing. Costume play, one act, 3 men, 4 
women. Plays 30 minutes. 


[ 123 ] 




Play Catalogue 


55. The Gate of Wishes.—Charming. 

He, She and the voices of fairies in the wood. 
Very pretty and fanciful little play. Time— 
afternoon of Hallow’een. Place—the top of a 
hill where there is a scattered clump of old tall 
pine trees and in the background a thicker 
growth of sturdy beeches. Plays about half an 
hour. (Mary McMillan in Short Plays.) 

Stewart Kidd. 

56. The Romance Hunters.—See College Plays. 

All scenes out of doors on a lawn. 

French, publisher. 

57. The House of the Heart.—Constance 
Mackay in volume of that title containing sev¬ 
eral plays. Contains: 

(Fourteen children or less. Holt, $1.25.) 

58. The Gooseherd and the Goblin.—Pageant 
of hours. 

59. The Heart of a Clown—C. Powell Ander¬ 
son. 

Two males, 2 females. (Baker and French.) 

60. The Little Shepherdess.—Andre Rivoire. 

Poetic comedy, 1 act, 1 male, 2 females. 

Charming pastoral sketch by a well known 
French poet and dramatist. Played with suc¬ 
cess at Comedie Francaise. French. 25c. 

61. Comedy Sketches. 

A collection of short plays suitable for out- 
of-door presentation. Baker. 35c. 

62. Hail, the Conquering Hero. 

Exterior scenes. One scene on a porch. See 
College plays. Baker. 

63. Professor Pepp.—See College plays. 

Can be played out of doors. Baker. 

64. A Matrimonial Fog.—See One-act. 

Scene, veranda of a club house. 

65. The Wonder Hat.—See Fantasy. —(Ben 
Hecht and Goodman.) Very delightful for an 
out of doors performance. 

66. Pomander Walk.—Louis Parker. 

Three acts, 10 males, 8 females. Could be 
played against a background of summer cottages 
or on a village street with houses, etc., as they 
all play a part in the drama. Lines need cutting 
in some parts. Royalty, $25. (French). 

67. Prunella.—Lawrence Housman and Gran¬ 
ville Barker. 

Three acts, 14 males, 8 females. Same ex¬ 
terior. French. 

68. The Faraway Princess.—Suderman. 

Two males, 7 females. French. 


69. Pierrot of the Minute.—Ernest Dowson. 

Admirably suited for out-of-door presentation. 

French & Baker. 30c. 

70. Shakespeare’s Daughters.—See Plays for 
Girls. 

Scene calls for a glade in which the characters 
appear. 

71. The Lost Silk Hat.—See Easy One-act 
Plays. (Dunsany). 

72. Hunger.—Pillot.—See Morality plays. 

A road before a great tower. A morality 
play for 4 males, 1 female—costume play. 

73. The Golden Doom.—See One act (Dun¬ 
sany). 

Eight males, 1 small girl, 1 boy. The scene 
takes place outside the king’s great door. 

74. A Bright Morning.—See Spanish plays. 

Scene takes place on a lonely promenade—a 

park bench is the only stage property necessary. 

75. It Might Happen.—See Advanced One-act 
(Denison publication.) 

Scenery—a park bench in a simple outdoor 
setting. 

76. By Their Words Ye Shall Know Them.— 

Quiteros.—See Spanish plays. 

Scene, a corner of a patio in a courtyard. 

77. The Dryad.—(Mary McMillan in More 
Short Plays.) 

Three males, 2 females. Poetic and fanciful 
little play, but Jen, the girl, though true to 
type, could cut her vulgar lines somewhat. The 
whole play is a lovely fancy about trees.* The 
scene is an open square with a fountain ;there 
must be a few trees. Stewart & Kidd. 

*Excellent play for Arbor day celebrations. 

78. Every Soul.—Rev. J. F. X. O’Connor.— 
See in Morality plays. 

All out-of-door settings. 

79. Torches.—See Italian. 

A play to be acted on a terrace. 

On a Balcony.—Browning. 

One male, 2 females. Also to be acted on a 
terrace. Dramatic Publishing Co. 

81. The Old Songs.—See under Entertain¬ 
ment. 

82. See Entertainments — Pikeville Centen¬ 
nial, etc. Apple-bee, etc. 

83. The Sightseeing Car.—See under Enter¬ 
tainments. 

A simple street scene required. Comedy 
sketch. 


[ 124 ] 



Play Catalogue 


84. The Revolt of the Bees. 

For 9 girls. 

85. The Tournament of Idylcourt. 

Twenty girls. 

86. The War of the Roses. 

Nine girls. 

87. The Rival Poets.—In Baker’s School En¬ 
tertainments. 

Two boys. Plays suitable for out-of-door 
presentation. G. M. Baker. 35c. 

88. Titania or the Butterflies’ Carnival. 

Extravaganza in two acts, 17 boys and girls 
and chorus. Costumes fanciful. Plays a full 
evening. 

Baker. 

89. Two Gentlemen of Verona.—See Shake¬ 
speare. 

90. The Comedy of Errors.—See Shakespeare. 

91. Beauty and the Beast. See French plays. 
Most of the scenes take place in the garden, 

there is but one interior, which can easily be 
arranged with screens, etc., and all given out of 
doors. 

92. The Passing of Hiawatha and Other 
Plays.—In Plays of the Pioneers. (C. Mackay.) 

93. The Fountain of Youth, Etc.—In Plays 
of pioneers. (Holt.) 

94. The Sad Snepherd.—Ben Johnson. See 
English. E. P. Dutton. 

95. Twelfth Night.—See Shakespeare. 

96. Rip Van Winkle.—See under New York. 
(French & Co.) 

97. 

98. Maeve.—Edward Martyn.— (See Irish 
Plays.) 

Two acts, both exteriors. 

99. The Norsemen.—Elizabeth Alden Curtis. 
Splendid out-of-door spectacle—Druid priests, 

groves, ceremonials. See Plays of Iceland. 

100. In the Valley of the Mohawk.—See 

under American list. 

The story of Father Jogues; a musical drama. 
Wood scenes and Indian village scenes. 


101. The Tadpole School.—Stapp-Cameron. 
Fifteen boys and girls. Woodland setting. 

Plays 45 minutes. Little boy truant finds fish, 
tadpoles and water lilies- all busy with lessons 
to learn. Baker. 30c. 

102. The Open Air Theatre.—By Sheldon 
Cheney. 

Beautifully illustrated. (Kennerly.) 

103. Outdoor Theatres.—Frank A. Waugh. 
The design, construction and use of open-air 

auditoriums. (Badger.) 


: The Peripatetic Theatre. 

In connection with Outdoor theatre: in which 
the audience moves to the change of scene. 

In the Valley of the Mohawk. 

Three different shifts of vantage—one part of 
grounds represents Indian village of Ossernenon 
—the next is before the trading post at Fort 
Orange, and the third to the scene of the 
tableax for the finale. (See American Plays 
for further details of play.—Presentation Order, 
St. Michels, New York.) 

2. Maeve.—Edward Martyn. 

Act 1—Before a ruined abbey in a green lawn, 
trees standing among boulders; the second is 
outside a castle with a pointed Gothic door, over 
which a square-headed window lights a room 
above. It is a bright moonlight night. A cairn 
is close by from which the fairies troop later. 

3. Peep o’ Day Boys. 

Clearing in a grove—a glen—a road—a quarry 
and the pattern or fair. Leave out the scene in 
act 3 calling for interior. 

4. Ingomar.—See Greek. 

5. Ion.—See Greek. 

6. The Piper.—Josephine Preston Peabody. 

Four acts. Thirteen males, 6 females and 

extras. 

7. Pericles.—See Greek. 

*Maeterlink has used this idea in staging a 
play in the different rooms of his house. For a 
large audience this manner of presenting a play 
in varied settings would not be practical. The 
Peripatetic theatre can be managed nicely out of 
doors—the audience each carries his own camp 
chair to the new scene of action, or better still, 
the use of straw cushions or mats would be ad¬ 
visable. 


[ V15 ] 




Play Catalogue 


8. The Gift. —(Rogers-Stewart Kidd.) 

Two changes—a wood, and before a Grecian 
portico. 

9. The Tempest. —See Shakespeare. 

10. The Enchanted Wood. —(See Outdoor.) 
One scene at a country road; the last is at 

a wood. 

11. The Coleen Bawn. —See Irish plays. 

Could be effectively given at a summer resort 

where the audience would progress from scene 
to scene via boats and motor. 

12. Midsummer Night’s Dream. —See Shake¬ 
speare. 

A play in the veritable Peripatetic spirit, admir¬ 
able for producing in this manner. 

13. The Masque of Pysche. —Winifred Ayres 
Hope. 

Twenty-three males, 13 females and Psyche. 
Prologue, an arrangement of scenes from Shake¬ 
speare. (See Masques.) 

Could be splendidly arranged as a Peripatetic 
performance, each group being in the selected 
position, ready to begin as soon as audience as¬ 
sembles for each episode—no tiresome delays 
for shifting of scenes. 

14. Beauty and the Beast. —See Plays under 
France and Out Door. One shift of audience 
required. 

15. The Three Bears. —See Plays of France. 


PLAYS FOR A WATER THEATRE* 

1. Walker, London. —J. M. Barrie. 

Farcical comedy in 3 acts—all to be played 

on a house-boat, which is moored close to the 
bank. The house-boat is occupied by a pleasant 
party until Mr. Jasper Phipps arrives. Time, 2 
hours. Five males, 5 females. W. G. a fine part 
for boy. 

French. 

2. Second Act from Miss Hobbs. —Jerome K. 
Jerome. 

The scene is laid on board a yacht and is a 
complete little one act play. Actors are on the 
boat—audience sits on shore. 

French. 

3. All Visitors Ashore. —Ward Macauley. 

Farce. Thirteen males, 6 females—45 min¬ 
utes. 

A dock and back of the excursion steamer 
Rorora. 

Penn. 25c. 


4. Rising of the Moon. 

Play for a quay or a bridge—water side. 

5. Hiawatha. —See Indian. 


PLAY POR A BOAT SETTING 

\ 

1. A Game of Chess. —Sutro. 

See One Act Plays. 

2. The Emigrant’s Party. —J. A. Kelly. 

Scene—the deck of a ship. Costumes, of all 

nations, introducing folk-songs and dances. 
Baker. 25c. 

3. Second Act of Columbus.—See American 
List. 


PAGEANTS 

1. The Gifts We Bring. —By Nina Lamkin. 
Christmas pageant, in 2 episodes, for 60 to 

500 people. Time, 1 hour. Contains groups of 
snowbirds, automatic toys, fairies, etc. Dances, 
music and directions given. 

Denison. Postpaid, $1.00. 

2. America—Yesterday and Today.—Nina 

Lamkin. 

Cast, 80 to 800. Time, IV 2 hours. Music, 
dances. Costumes fully described and easily 
carried out. Adaptable anywhere as a com¬ 
munity production. 

Denison. $1.00. 

3. A Pageant of History. —W. B. Hare. 

In six parts, for either in or out of door use. 
Fifteen males, 9 females, or any number. Cos¬ 
tumes, historical. Plays full evening. 

Baker. 35c. 

4. The Forest Princess. —Constance Mackay. 
In The Forest Princess and other masques. 
Henry Holt. 

5. Patriotic Pageants for Young People.— 

Constance Mackay. 

Henry Holt. 

6. Advice on Pageantry. — By Constance 

Mackay. 

In Patriotic Drama in Your Town. 

Holt. $1.40. 


*A stream of water between stage and audi¬ 
ence acts like a sounding board and is very ef¬ 
fective in carrying the speaking-voice a great 
distance. 


[ 126 ] 




Play Catalogue 


*7. God Wills It.—Daniel A. Lord, S. J., St. 
Louis University. 

8. Democracy Triumphant. 

A patriotic pageant. (See Patriotic List.) 

9. Columbus. 

A dramatic festival—New Jersey State Nor¬ 
mal School. 

10. Three Centuries of American Democracy. 

A patriotic festival in Two Patriotic Pageants. 
See Patriotic. 

Baker. 

They are beautiful in simplicity, rich in facts, 
and effective as history-material for schools. 
Large cast, but small group rehearsals are pos¬ 
sible. Costuming and stage directions contained 
in complete directions. 

11. Pageantry of Civil War in Song and 
Story. 

Using the scenes in Alatoona of the war. See 
Civil War Drama. 

12. Daniel Boone Pageant. —See Kentucky 
and also Boys’ List. 

13. Illini Trail. —Cecilia M. Young. 

Patriotic and historic pageant of Illinois. 

14. Catholic Builders of the Nation. —R. Le- 

grand Clark. 

A pageant for any number of school children. 

15. Saint Jeanne d’Arc Pageant. —R. Le- 
grand Clark. 

In eleven episodes and beautiful Apotheosis— 
Canonization of St. Jeanne d’Arc. 

The entire life from childhood (nine years of 
age), the legend of the roses, the visions, the 
battle of Rheims, Jeanne’s triumphant entry to 
Rheims, Coronation of King Charles VII. Jeanne 
in prison—her trial—and the burning at the 
stake are the chief incidents that are brought 
out. Successfully produced at Fordham Uni¬ 
versity. 

Mrs. R. LeGrand Clark, 215 W. 79th St., New 
York City. 

16. America In the Making. 

Patriotic pageant and play. Sec Patriotic. 

17. Our Motherland. 

A patriotic pageant for in or out of doors. 
See Patriotic. 

God Wills It. —Daniel A. Lord, S. J. 

"Mission pageant, showing the awakening of 
the youth of America to the needs of the For¬ 
eign Missions—as produced in St. Louis, May, 
1922. 

Catholic Students’ Mission Crusade, Cincin¬ 
nati, Ohio. 

** See addenda. 


PANAMA—Plays of 

The Zone Police.—Richard Harding Davis. 
See Plays for Male Characters. 


PANTOMIME 

1. The Shepherd in the Distance.—Holland 

Hudson. 

Extremely effective. Ten characters—origin¬ 
ally produced by Washington Square players. 

Stewart and Kidd. 

2. The Ballad of Prudence Dean.—Ella M. 
Willard. 

In 5 scenes. Nine males, 5 females. Thirty 
minutes. 

Some one sings the story while it is acted in 
pantomime. Costumes, Puritan and Indian. 

Story of a stern father, beautiful daughter, 
an old and wealthy suitor and a poor youth who 
wins the maiden’s heart. 

Denison. 25c. 

3-16. Baker’s Pantomimes and Charades. 

Holidays, for 6 males, 7 females; Contennial, 
6 males, 7 females; Anvil Chorus, 5 males, 3 
females; Love Sick, 4 males, 3 females; Ban¬ 
ditti, 6 males, 1 female, etc. Fifteen plays in 
all. 

.17. The Cannibal and the Skeleton. 

Shadow pantomime. See Shadow Plays. 

Two Greek pantomimes, with dances: 

18. 1. A Greek Frieze. 

Adapted to the ancient Greek music, Ode to 
the Muse. 50c. 

19. 2. Daphne and Appollo. 

Adapted to Carnival music of Tschaikowsky. 

$1.50. 

(Arranged by Mari Ruef Hofer, with historic 
notes, music and complete detailed directions for 
the costumes, action and dances. Clayton F. 
Summy, Chicago. 

20. Popping the Question.—Clement Fez- 
andie. 

Monologue in pantomime for a man. Twelve 
minutes. Parlor scene—fashionable dress. The 
movements reveal every stage in the critical pro¬ 
ceedings. 

Penn. 25c. 

21. Delsartean Pantomimes. 

Arranged by Mrs. J. W. Shoemaker. 

Penn. $2.00. 

22. Six Plays for Mimes.—Alfred Krembourg. 

Others Pub. Co., New York. 


[ 127 J 





Play Catalogue 


23. Pantomimes to Recitations. — Florence 
Adams. 

For a solo performer. A guide book to the 
technic of pantomimic art. 

Werner, 43 E. 19th St., New York. 

24. Gestm*e and Pantomimic Acting. —Flor¬ 
ence Adams. 

Containing Sister Helen and Proctor’s Faith¬ 
ful Soul. Fully explained. Illustrated text. 

Werner. 

25. Favorite Song Pantomimes.— Marie Irish. 

Twenty-six of our old songs pantomimed— 

arranged to be produced by one or more persons. 

Denison. 40c. 

26. Denison’s Illustrated Song Pantomimes. 

Full directions with every song. 

Denison. Per vol., 25c. 

27. Patriotic Celebrations. —Marie Irish. 

Containing Pantomimes for patriotic occasions. 

See Patriotic. 

28. Little Plays with Drills. —See under 
Rhythm. 

29-31. Interrupted Courtship, Love’s Triumph, 
Love Will Find a Way. —Marie Irish. 

Three pantomimes in Tableaux and Scenic 
readings. 

Denison. 

32. The Seven Gifts. —Stuart Walker. 

Christmas Pantomime for 12 principals. Full 

description and illustrations. 

(Author’s note—Can be produced by any one 
who wishes, with two provisions: As soon as 
you decide to give it, write the author for his 
permission. This is merely a form, but is neces¬ 
sary, since the play has been copyrighted; but 
go right on with your rehearsals while you are 
waiting for the answer, so that you will not be 
losing any time. Address, Mr. Stuart Walker, 
Portmanteau Theatre, 200 W. 56th Street, New 
York. The second provision applies only to those 
who plan to charge admission to the perfor¬ 
mance. In that case a fee of five dollars, pay¬ 
able to Tree of Light, Postoffice, Station G, New 
York, is necessary.) 

33. Pictures in the Fire. —Four males, 4 fe¬ 
males, and extras. And 

34. Living Pictures of the Civil War. —Ad 
lib. In 

35. Dramatized Readings. —Cooper, Porter, 
Parsons, etc. 

Tableaux and Pantomime entertainments. 

Baker. 35c. 


36. Five Pantomime Plays. —Stocking. 

In School and Parlor tableaux. 

Denison. 15c. 

37. Danse Calinda. —Ridgly Torrence. 

A genre pantomime. Scene, Place Congo, in 
Old New Orleans—glowing w r ith color—wonder¬ 
ful opportunity for splendid work on the part 
of the principals. Five leading characters, and 
many others who participate in the stage pic¬ 
tures. 

Rights for performance may be secured by 
writing to author, care Theatre Arts Magazine, 
7 East 42nd Street, New York City. 

Banjos, drums and “squills,” jews-harps, etc., 
are the instruments used to accompany the pan¬ 
tomime. It is in two scenes. 

PATRIOTIC PLAYS AND ENTERTAIN¬ 
MENTS* 

1. Little Miss America and the Happy Chil¬ 
dren. —M. M. Parker. 

One act. Twenty-four children, boys and girls, 
ad libitum. Costumes or not as preferred. No 
regular platform is necessary. Plays 40 minutes. 
Presents a complete summary of United States 
history in ingenious dramatization. 

Baker. 25c. 

2. The Man Without a Country. 

Adaptation from Dr. Hale’s story. Vivid 
lesson in patriotism. Forty-six males, 5 females, 
speaking parts and others ad libitum. Costumes, 
military, of the several periods. Scenery, merely 
suggestive. Plays 1% hours. 

Baker. 25c. 


GRAND ARMY DRAMAS 

(Published by French. 25c.) 

3. The Midnight Charge. —W. E. Stedman. 

Four acts. Seven males, 3 females. 

4. The Confederate Spy. 

Drama. Five acts. Eight males, 3 females. 
Written to meet the wants of the G. A. R. 

5. After Taps. 

Drama. Three acts—from Mss. of the late 
George M. Baker, fitted particularly for Grand 
Army Posts. Seven males, 3 females. 


* See addenda. 


[■ 188 ] 




Play Catalogue 


PATRIOTIC PIECES FROM THE GREAT 
WAR 

(Compiled by E. Jones. Penn. 40c.) 

7. America in the Making. —R. B. Eskil. 

Patriotic play and pageant in 1 act and 10 

episodes, for about 40 boys and girls—should 
make the foreign born more appreciative, and 
shows the part the late comers have played in 
our making. 

Suitable for any patriotic occasion. May be 
presented either in or out of doors. 

Denison. 25c. 

8. Our Motherland. —Edith Burrows. 

A patriotic pageant of America. Either ex¬ 
terior or interior production. Nineteen principal 
characters and tableaux to take in any number 
of extras. The lines are attractive and easy to 
speak. A very good number, highly recom¬ 
mended. 

Penn. 

9. The Sword of America. 

Patriotic cantata. 

C. C. Birchard Co., Boston. 

10. Signing the Declaration of Independence. 

Tableaux, made up of the chief incidents 
which occurred in the debate and signing. 
Speeches and tableaux. 

French. 25c. 

11. Patriotic Celebrations. —Marie Irish. 

Containing novel patriotic material for all the 

days we celebrate. 

Denison. 35c. 

12. The Patriot Girl. —Lilian Chandler. 

A Patriotic comedy. Two acts. Six females, 
2 males. Time, 1V& hours. 

Penn. 

13. The Patriot. —Thos. L. Marble. 

Colonial play in 3 acts. Six males, 3 females. 

See American Historical Plays. 

Penn. 

14. The Crowning of Columbia. —K. F. Carl- 
yon. 

Patriotic fantasy in one act. Twenty-five 
boys and 24 girls. Costumes, picturesque. No 
special scene required—30 minutes. Introduces 
music. Hinges on the work of Columbia in late 
war. 

Baker. 25c. 

15. Patriotic Drama In Your Town.— Con¬ 
stance Mackay. 

Detailed suggestions for community Fourth of 
July celebrations; shows how such celebra¬ 
tions bring a community into closer relation and 
make better Americans. Holt. $1.40. 


16. Eyes of Faith.—Marie Doran. 

One act. Nine females. One interior—45 
minutes. 

An up to date play on assimilation and Ameri¬ 
canization, showing how a patriotic woman 
won the affection and loyalty of misguided for¬ 
eign born girls who try to run the country in 
their own way. 

French. 30c. 

17. Patriotic Scenes—Old and New. Platform 
Entertainment.—E. K. Macoy. 

Five males, 24 females. Scenery, unimportant. 
Costumes, fancy.. Twenty minutes. 

Introducing Uncle Sam,' Betsy Ross and other 
patriotic figures in a series of tableaux accom¬ 
panied by reading in verse. 

Baker. 25c. 

18. Tableau and Pantomime. 

Entertainments containing Living Pictures of 
the Civil War. etc. 

Baker. 35c. 

19. Women in War.—E. Godshaw. 

Patriotic entertainment in one act. Eleven 

females. Costumes, historical, representing 
women in history who have been prominent in 
the wars of the world accompanied by descrip¬ 
tive reading. 

Baker. 25c. 

20. Baker’s Patriotic Dialogues (for all 
grades).—By E. D. Holmes. 

Based on well-known incidents of American 
history: The Boston Tea Party, Capture of 
British Sentinel at Stony Point, The Capture of 
Major Andre, etc. 

Baker. 35c. 

21. Patriots.—Sara K. Wiley. 

Comedy. One act. Three males, 2 females. 

A pretty little colonial play in which Wash¬ 
ington is portrayed. Not difficult and very ef¬ 
fective. Time represented is December, 1776. 

French. 30c. 


POLAND—Plays of 

The Spirit of Poland.—Dorothea M. Hughes. 

Eight males, 8 females. Costumes of Poland, 
modern, peasant and military. Two hours. 
Scenes, 1 interior, 1 exterior. Picturesque play 
of love and war. Opportunity for Polish danc¬ 
ing and music. 

The play opens with a dance at the home of 
Pan Maleswki—the dance is interrupted by the 
dreadful news, "Austria has declared war on 
Russia!” Sashs Polivanof, a Russian officer, is 
quartered under Maleskwi’s roof and declares 


[ 1M ] 




Play Catalogue 


his love for Wanda, the daughter of Pan 
Maleswki, but her heart is given to Tadeusz, a 
Polish patriot. Time goes on—-the Russian army 
retreats across Poland, leaving hunger and 
famine in their wake. A rescuer comes—Tad¬ 
eusz—with help from America. Long live Po¬ 
land! and curtain. 

Penn. 25c. 

The Wild Irish Girl. —James Pilgrim. 

A drama of Wilna in Polish Russia—1812. 
Characters are Polish or Russian, except the 
Countess Zytomir, who assumes the character of 
the Irish girl. Very old-fashioned drama. 

Three acts, 9 males, 6 females and extras for 
guests, vassals, peasantry, soldiers, etc. 

French. 25c. 

Pulaski’s Banner. 

In Scrap-book Recitation, Series No. 8. 

Dramatic recitation. 

Denison. 35c. 

In the Palace of the Polish Prince. —Member 
of Presentation Order. 

Five acts. Twelve pages of music. Court cos¬ 
tumes and peasants (the male characters may in 
all propriety be taken by girls). $1.00. 


PORTMANTEAU* OR TRAVELLING 
THEATRE—Plays of and for— 

1. Portmanteau Plays. —Stuart Walker. 
Containing four one act plays by the inventor 

and director of the Portmanteau Theatre. 

Plays: Tramplet, Six Who Pass While the 
Lentils Boil, Nevertheless, Medicine Show. In¬ 
troduction by Edward Hale Beirstadt on the 
Portmanteau Theatre in theory and practice. 
Stewart and Kidd. $2.50. 

2. More Portmanteau Plays. —Walker. 

Three plays and illustrations. 

Stewart and Kidd. 

3. Portmanteau Adaptations. —Walker. 
Stewart and Kidd. $2.50. 


*Portmanteau Theatre idea, a modernized 
adaptation of the manner of presentation of the 
early Mystery plays given at Chester. “There 
were scaffolds erected for spectators in these 
places to which the successive pageants would be 
drawn—a spectator would see the Scripture 
story—pass in its right order before him. Each 
pageant was drawn on four or six wheels and 
had a room in which the actors and properties 
were concealed under the upper room or stage 
on which they played.”—Dr. James Walsh in 
Thirteenth Greatest of Centuries, quoting from 
Henry Morley’s English Writers. 


4. The Nativity. 

Christmas service, arranged by Rosalie Kim¬ 
ball. 

Could be produced in hospitals, homes, etc., in 
Portmanteau Theatre for Christmas. 

5. The Workhouse Ward. 

Could be produced in any institution, hospital 
ward, or hbme without any accessories except 
two cots and the few properties that are neces¬ 
sary. See under Irish Plays. 


REFERENCE BOOKS 

Relating to the Progressive Movement in the 
Theatre; on the Newer Tendencies of Thea¬ 
tre Art; Collections of New Plays, 

Etc., Etc. 

The Little Theatre in the United States.— 

Constance D’Arcy Mackay, with over twenty 
unusual illustrations. 

An account of our Little Theatres by an au¬ 
thority, and also chapters covering The North¬ 
ampton Municipal Theatre^ The New Theatre 
Experiment, The Repertory System, and The 
Cost of Maintaining a Little Theatre. 

Holt. $2.50. 

Plays and Players. —Walter Prichard Eaton, 

dramatic critic and author. 

Criticisms of plays and papers on acting, play¬ 
making and other dramatic problems. Preface 
by Barrett H. Clark. 

Stewart and Kidd. $3.00. 


ONE ACT PLAYS 

Contemporary One Act Plays of 1921 —Ameri¬ 
can. 

Containing Napoleon’s Barber (Arthur Cae¬ 
sar), The Hero of Santa Maria (Goodman- 
Hecht), Tickless Time (Glaspell and Cook), Two 
Slatterns and a King (Edna St. Vincent Millay), 
Sir David Wears a Crown (Stuart Walker). 

Stewart and Kidd. 

The New Spirit in Drama and Art. 

Kennedy, New York. 

The Theatre of Today.—Hiram Kelly Moder- 
well. 

Lane & Co., New York. 


* See addenda. 


[ ISO] 





Play Catalogue 


Towards a New Theatre. 

Contains forty of Craig’s designs. 

E. P. Dutton, New York. 

The New Movement in the Theatre.—Sheldon 
Cheney. 

Knopf. 


REFERENCE LIST OF PUBLISHERS 

Samuel French, 28-30 West 38th St., New 
York. 26 Southampton St., Strand, London. 

W. H .Baker, Hamilton Place, Boston, Mass. 

American Play Co., 33 West 42nd St., New 
York. 

T. S. Denison, 623 South Wabash Ave., Chi¬ 
cago. Ill. 

Penn Publishing Co., 925 Filbert St., Phila¬ 
delphia, Penn. 

B. Herder, 17 South Broadway, St .Louis, Mo. 

Little, Brown & Co., 34 Beacon St., Boston, 
Mass. 

Henry Holt, 19 West 44th St., New York. 

E. P. Dutton, 181 5th Ave., New York. 

Stewart & Kidd, 121 East 5th St., Cincinnati, 
Ohio. 

Sunwise Turn, 2 East 31st St., New \ ork. 

A. Matre & Co., 76 West Lake St., Chicago, Ill. 

Talbot & Co., 83 Talbot St., Dublin. 

Maunsell, 90 Middle Abbey St., Dublin. 

Duffy, 38 Westmoreland St., Dublin. 

Harper, 333 Pearl St., New York. 

Stage Guild Society, Railway Exchange Build¬ 
ing, Suite 1527, Chicago. 

Drama League, 59 East Van Buren St., Chi¬ 
cago. 

Theatre Arts, 7 East 42nd St., New York. 

* 


RELIGIOUS PLAYS AND SACRED DRAMA 

See Allegories. 

See Mystery and Miracle Plays. Also a few 
under Historical, Early Christian, Christmas, etc. 

1. Nativity Play. —Robert Hugh Benson. 

See Christmas. 

Longmans, Green & Co. 

2. The Upper Room. —Robert Hugh Benson. 

A play of Christ’s Passion. One simple in¬ 
terior with a wide window or opening through 
which the Crucifixion procession is seen. Very 
effective. Characters—The Blessed Virgin, Mag¬ 
dalen, Veronica, and a small number of other 
speaking parts. 

Longmans, Green. 

3. Pilate’s Daughter. —Rev. Francis L. Ken- 
zel. 

Religious melodrama—25 girls and many ex¬ 
tras. Five acts. 

Redemptorist Fathers, Tremont St., Boston. 

4. Nunc Dimittis. —A Sister of Mercy, York, 
England. 

Scriptural play based on the Presentation in 
the Temple. Eight males, 13 females. Chorus 
of angels and attendants. May be played by all 
boys of all girls. Hymns and music from The 
Messiah and Christmas Carols. Time, 1*4 hours. 

Matre. 

5. The Heart of France.— Members of Pre¬ 
sentation Community, St. Michael’s School, New 
York. 

The story of Blessed Bernadette. Twenty- 
seven characters, all of which may be played by 
girls. Three acts, 5 scenes, exteriors and inter¬ 
iors. Incidental music, if desired. Plays about 
1^2 hours. 

6. Her Only Love. —P. Kaenders. 

Melodrama—period, early Christian persecu¬ 
tion, based upon Calderon’s “El Magico Prodi- 
gioso.’’ Fifteen characters, and extras. Could 
be played by an all male or all female cast. 
Four acts— IV 2 hours. 

Herder. 25c. 

7. Fabiola. —Adapted by Anthony Matre, 
K. S. G., from Cardinal Wiseman’s novel. 

Five acts. Twenty male and 6 female charac¬ 
ters. 

Matre. 50c. 

8. St. Philomena. —Anthony Matre, K. S. G. 

Sacred drama in 3 acts. 12 minutes; 1 princi¬ 
pal female. 

9. Rome Under Valerian. —Matre. 

Sacred drama in 4 acts—24 males, 5 females. 
Matre. 50c. 


*See addenda. 

[ 131 ] 




Play Catalogue 


10. The Maid of Orleans. —R. H. Benson. 

Twenty-five principal roles, and extras. 

Longmans, Green. 25c. 

See Pageantry, for Pageant, Joan of Arc. 

11. The Maid of Desenzano. —Rev. P. Kaen- 
ders. 

Drama in 3 acts—24 principal characters, and 
3 silent parts—Angel, Blessed Virgin and Saint 
Ursula. Ursuline Sisters. Play concerning the 
founding of the Ursuline Order. 

Herder. 

12. The Prince of Pez. —Rev. P. Kaenders. 

Drama in three acts—10 scenes—10 males, 4 

females. Extras, Knights, etc. 

Mephisto battles with Angel Guardians for 
souls. Many opportunities for beautiful tab¬ 
leaux—Immaculate'Conception, St. Ignatius, etc. 
The Prince of Fez is directed by an angel to 
read the Life of St. Ignatius, and to supplement 
what the prince reads. Tableaux appear. 

Herder. 25c. 

13. Every Man. —See Morality Plays. 

14. Cecilia. —Myron A. Cooney. 

A Roman drama in 3 acts—14 characters. 

Herder. 25c. 

15. There Was No Room. —See Christmas 
Plays, by dementia. 

16. “Thy Kingdom Come’’ or “The Ninth 
Promise Fulfilled.” —dementia. 

A Sacred Heart Play for older girls, dealing 
with a conversion. Nineteen principal charac¬ 
ters and unlimited number of subordinates. 
Time, IV 2 hours. 

Matre. 50c. 

17. The Little Poor Man. —Josephine Preston 
Peabody. 

18. Callista. —Cardinal Newman. 

19. St. Thomas of Canterbury. —Aubrey de 
Vere. 

20. Caritas Orans. 

From the life of St. Francis of Rome. For 7 
girls. 

21. *Caritas Victrix. 

From the life of St. Catherine of Sienne. 
Eight girls. 

22. *Caritas Coronata. 

From Fabiola. Eight or more boys. 

23. *Caritas Peonitens. — (St. Columbkill.) 

Ten boys. 


*By Sacerdos, Dept. L, St. Michaels’ Academy, 
Chatham, N. B., Canada. 25c 


24. Deus est Caritas. 

Sacred cantata for any number of girls. 

25 *Joseph of Egypt. 

Twenty-four boys. 

26. The Monk’s Pardon.—-Dramatized by A. 
Matre, K. S. G. 

Four acts^ 14 males, 6 females. 50c. 

27. Laurance and Xystus.—See Boys list. 

28. Tarcissus.—Sec Boys list. 

29. St Laurance.—See Boys list. 

A drama. Matre & Co. 

30. Crowns and Palms. 

Drama, 4 acts. Benedictine Father’s transla¬ 
tion from the German. Herder. 25c. 

A story of the early persecutions in Rome. 
Nine male principals, any number of extra boys 
for supers. 

32. Pilot’s Daughter or The Magic Rose. 

For information regarding this play write 
Dramatic Director, Parish, Redemporist Fathers, 
Boston, Mass. 

33. * The Plays of M. S. Pine. 

See Morality and Mystery plays—Christmas 
plays. 


RHYTHMIC DRAMA 

Lima Beans.—By Alfred Krembourg. 

A Scherzo play. Characters, the wife, the hus¬ 
band and the voice of the huckster. An original 
play by Alfred Krembourg. The actions are ac¬ 
companied by a sing-song recital of the verse. 

Alfred Krembourg, 17 E. 14th St., New York. 

The Quick Lunch Cabaret.—Courtney R, 

Cooper. 

Four males who double at close of play. Dia¬ 
logue and action are in time with the verse. 

Denison. Chicago. 

Little Plays with Drills.—Ellen M. Willard. 

For boys and girls. Speaking parts are short, 
just enough to carry the story. The book is a 
novelty, combining both the elements of a play 
and a drill. Denison, Chicago. 35c. 

See Greek Dance under Silhouette. 

Manikin and Minikin.—Alfred Krembourg. 

One male, 1 female. Delightful little fancy; 
two bisque figures on a mantelpiece carry on the 
play, and an old clock ticks like a chronometer 
beating time to the dialogue. Published by 

** See addenda. 


[ 132 ] 





Play Catalogue 


Other Publishing Co., New York, and can be 
found also in collection, Contemporary One-act 
plays.—Lewis. (Baker.) See One-act. 

Also found in Treasury of Plays for Ladies— 
Little, Brown & Co. 


PLAYS OF RUSSIA 

Revisor.—N. V. Gogol. 

Comedy, 5 acts, 19 males, 5 females. Scenery, 
two interiors. Russian costumes. Plays a full 
evening. Version used by Yale University Dra¬ 
matic Association. Baker. 60c. 

A Marriage Proposal. —Anton Tehekoff. 

Comedy, one act, 2 males, 1 female. Written 
by one of the greatest of modern Russian writ¬ 
ers. Russian peasant costumes. Very popular 
in Russia, although it satirizes the people of that 
country in an amusing manner. 

French & Co. 35c. 

The Boor. —Tehekoff. 

Well known farce; it is concerned with Rus¬ 
sian peasants and portrays the comical side of 
country life there. French. 25c. 

The Sea Gull. —Tehekoff. 

Heavy drama, characters vivid and drawn 
with masterly skill. Realistic and tragic play. 

(Scribner.) 

The Swan Song. —See Advanced One-act. 

Two males. An incident in Plays of Tehekoff. 

Scribner. 

A Game of Chess. —Kenneth Sawyer Good¬ 
man—Ben Hecht. 

Tense play; full of drama. 

Four males. Russian interior and costumes. 

Stage Guild, Chicago. 

Stone-house. —Geo. Calderon. 

Five males, 2 females. Mother has saved the 
little money for tomb of son supposed dead; he 
returns a convict; she informs the police. Very 
strong little play. In Contemporary dramatists. 
Stewart & Kidd. (Edited by Frank Shay- 
Pierre Loving.) 

The Phoenix. 

From the Russian. Play written around a 
Romance by Rubenstein. See One-Act plays for 
Advanced. 

The Inspector-General. —N. V. Gogol. 

Four acts. Large cast. The play is a story of 
graft. Published by Knopf. 


PLAYS OF SCANDINAVIA* 

King Rene’s Daughter. —By Hertz. 

A romance, early Denmark. See Onc-act plays 
—less difficult. 

2. Charles XII of Sweden.—J. R. Planche. 

An historical drama. Six males, 2 females and 

extras. Melodrama. 

3. The Pillars of Society. —By Henrick Ibsen. 
Translated by William Archer. Play in four 

acts for 10 males, 9 females. Baker. 25c. 

4. The Lady from the Sea. —Translated by 
Clara Bell. Ibsen. 

Drama, five acts, 5 males, 3 females. 

The Master Builder.— Translated by Edmund 
Goose and William Archer. Ibsen. 

Play in three acts. Baker. 

The Norsemen. —Elizabeth Alden Curtis. 
Beautiful drama in verse founded on the an¬ 
cient Frithiof Saga, the love of Frithiof and 
Ingeborg—wonderful opportunity for colleges 
for a splendid spectacle and a classic type of 
work. Eleven principals and extras for priests, 
warriors, marines, etc., and 3 females and one 
child. The play is laid in Iceland in the period 
covering the poetic Edda. 

The Mosher Press, Portland, Maine. 


SCOTCH 

Glenforsa. 

A play of the Scottish Reportorv Theatre for 
2 males, 2 females. Interesting little play in 
one act, whose characters are the rugged types 
of men of the West Highlands. Fine contrast 
for the delicate, fragile woman character, 
Elspeth. Requires skilled actors. 

French and Baker. 50c. 

2. Campbell of Kilmhor. 

Also from Scottish Reportory Theatre and the 
sensation of the Scottish stage in the spring of 
1914. A play that does for Scottish history 
what Lady Gregory has done. A well built lit¬ 
tle play full of unbounded possibilities for a 
well balanced company—the mother has the 
strong female part. Four males, 2 females. In¬ 
terior of a lonely cottage in North Perthshire 
after the rising of ’45. 

French and Baker, 50c. 


* See addenda. 


[ 133 ] 




Play Catalogue 


3. Rob Roy. 

A dramatized version of Scott’s novel. 
Twenty one males, 7 females. French. 25. 

4. Bride of Lammermoor. 

Dramatized by John Calcroft from Scott’s 
novel. Five acts, 9 males, 3 females. 

French. 25c. 

5. Bonnie Dundee. —Frank Richardson. 

Four males, 2 females. Period of James II 

in Scotland. Swashbuckling play; many duels 
with swords; has been given in several Little 
Theatres; a play that is throughout, picturesque 
and melodramatic. Splendid chance for a girl 
with a good voice—she must play an old fash¬ 
ioned instrument—text calls for guitar — and 
must sing stirringly the ballad of Bonnie 
Dundee. 

6. The Abbot. —See under One-act. 
Dramatizations from novels. Baker, pub. 

7. A Burns Rebellion. —Edith Painton. 

Eight males, 5 females. Simple interior. Plays 

1 hour. Humoruos entertainment introducing 
characters from Burns. Denison. 25c. 

8. Marie Stuart. —See under Drama. 

9. What Every Woman Knows. —Barrie. 
French. See Drama. 

10. The Little Minister. —American Play Co. 


SHADOW PLAYS, SILHOUTTE ACTING 

The Willow Plate Pattern. —Sam Hume. 

The Arts and Crafts Theatre Producing Co., 
Detroit. 

2. Ballads in Black. —By F. E. Chase. 

A collection of shadow pantomimes consisting 
of readings to be illustrated by dramatic action 
in shadow. With full directions and 50 full 
page illustrations. Denison. 60c. 

3. Shadow Pictures. —By Sara Stocking. 

Full directions given for shadows, tableaux, 

etc., showing how a great variety of entertain¬ 
ment may be given with little trouble. 

Denison. 35c. 

4. The Cannibal and the Skeleton. —By Hec¬ 
tor Fezandie. 

Shadow pantomime, 3 males, 1 female. Time— 
20 minutes. Not difficult to produce and highly 
entertaining. Directions are full and complete. 

Penn. 25c. 

5. Mary Jane. 


6. Ballad of the Oyster-man. —Oliver Wen¬ 
dell Holmes. 

In St. Nicholas Book of Plays. These are ex¬ 
ceedingly original and extremely funny. 

7. Villikins and His Dinah. 

New arrangement of an old-fashioned English 
ballad to be sung behind the scenes and acted 
in shadow pictures. Four persons. Takes 5 
minutes. (Humorous.) Penn. 25c. 


SHORT PLAYS 

1. Miss Doulton’s Orchids.—Margaret Cam¬ 
eron. 

Two acts. One interior scene. Costumes mod¬ 
ern. Time—1 hour. This clever play is full of 
the most charming comedy and is strongly recom¬ 
mended to first class clubs in search of high 
class comedy. For 3 males, 3 females. 

French. 30c. 

2. The Laughing Cure.—Edith Painton. 
Comedy in two acts for 4 males, 5 females. 

One interior. Plays 1% hours. Splendid. 
Denison. 

3. The Bluffers or Dust in the Eyes.—R. M. 

Groege. 

An Americanized adaptation of Poudre aux 
yeux—comedy, 2 acts, 8 males, 6 females. Two 
interiors. Plays 1% hours. Particularly suited 
to amateurs because it is short, bright, snappy 
and easily staged. Good characters—no long 
parts. French. 30c. 

4. Suppressed Desires.—Susan Glaspell. 

Two scenes, I male, 2 females. Simple in¬ 
terior. Plays about % hours. Clever satire, 
good comedy situations taken from Freude’s 
theory that one’s suppressed desires are ex¬ 
pressed in dreams. 

Stewart & Kidd. 

5. Monsieur Beaucaire.—See Drama list. 
Founded upon Tarkington’s story. Beautiful, 

romantic play and costumes of the period. 

6. Luck.—Mary McMillan. 

Comedy in 4 short acts for 6 males, 7 females. 
Interior scene. Time present. In Short Plays, 
Stewart and Kidd. 

7. The Old Peabody Pew.—Kate Douglas 
Wiggin. 

Two acts, 1 male, 8 females. Plays 1% hours. 
Scene, interior of a church. French. 25c. 

8. Sweethearts.—W. S. Gilbert. 

Comedy, two acts, 2 males, 2 females. Scene 
an exterior—same for both acts. Plays 1 hour. 
Baker. 25c. 


[ 134 ] 



Play Catalogue 


9. A Model Lover.—E. B. Tiffany. 

Comedy in 2 acts, 3 males, 3 females. Scene, 

an artist’s studio. Plays 1*4 hours. Very easy. 
Baker. 25c. 

10. A Lion Among Ladies. 

Comedy, two acts, 4 males, 4 females. Plays 
1 % hours. See Simple Dramas. Baker. 

11. A Rice Pudding.—E. B. Tiffany. 

Comedy in two acts. A simple interior. Plays 

1 hour 20 minutes. Deals with the mishaps of an 
inexperienced housekeeper in a new house. 
Baker. 25c. 

12. When Greek Meets Greek.—Jerome K. 
Jerome. 

Comedy in two acts. Ordinary interior, 
Two males, 2 females. Plays 1 hour. Bright and 
sparkling play. A young man and a young lady, 
who before their meeting declared themselves 
impervious to the charms of the opposite sex 
are unusually bright and clever people and the 
ultimate outcome is revealed in the plot. 

Penn. 25c. 

13. The Best Laid Plans.—Paul L. Ford in 
Tattle Tales of Cupid. 

Two acts, 4 males, 4 females. Easy, interest¬ 
ing and entertaining. 

Dodd, Mead & Co., New York. 

*14. Magic.—Gilbert Chesterton. 

15. The Monkey’s Paw.—W. W. Jacobs. 

A story in three scenes—an eerie play full of 
thrills. Great for effects but imbued with super¬ 
stitious horror. Dramatization by Louis N. 
Parker. French. 30c. 

16. Raising the Wind.—By James Kenney. 

Famous old fashioned farce in two acts for 
8 males, 2 females. Two interiors. Plays about 
1 hour. The character of Jeremy Diddler, said 
to be the real founder of half the farce parts 
of modern times. French. 25c. 

17. Mrs. Mainwaring’s Management.—J. R. 
Froome, Jr. 

Comedy in two acts, 3 males, 4 females. The 
same interior. Plays 1 hour. Very clever com¬ 
edy. Mrs. Mainwaring, who has the reputation 
of managing things well, gets things badly 
mixed up for a perfectly planned dinner party. 

18. Hearts and Clubs.—Amy E. Blanchard. 
Comedy in three acts, 3 males, 6 females and 

ladies of the Ladies’ Athletic club. Plays 1 hour 
15 minutes. Penn. 25c. 


* Baker. 


19. A Perplexing Situation. —S. Jennie Smith. 
Comedy in two acts, 6 males, 7 females. One 

interior. Plays 1 hour. 

A husband declares that his wife and daugh¬ 
ters cannot remain silent for a certain specified 
time. In their attempt to disprove his claim 
many situations arise that make this a very' 
funny little play. Not difficult to produce. 
Penn. 25c. 

20. Parlor Matches. —Walter Ben Hare. 

An Engaging Play of Society. 

Two acts. Time, 114 hours. Four males, 5 
females. Excellent little comedy. Not difficult. 
Denison. 25c. 

21. Short Plays. —Mary McMillan. 

Containing several plays mentioned elsewhere 

in this catalogue. 

22. More Short Plays. 

Also contains many plays already specified in 
catalogue under a particular caption. 

Stewart & Kidd. 

24. Ryland. —See plays under Historical. 

25. See Dickens’ list. 

26. The Primrose Path. —Mary Robinson. 
Romantic English comedy. Two acts—time of 

Shakespeare. Twelve males, 5 females. (See 
under Historic. 

French. 30c. 


SHAKESPEARE— 

Especially Arranged for Schools 

The Taming of the Shrew. 

Arranged in an introduction and 3 acts. Fif¬ 
teen males, 3 females. Scenery greatly simpli¬ 
fied or may be omitted altogether, if desired, by 
the use of curtains only. Costumes of the period. 
Plays 2 hours. 

Baker. 25c. 

A Midsummer Night’s Dream. 

Comedy in 3 acts—13 males, 10 females. Cos¬ 
tumes elaborate. Scenery varied. Plays a full 
evening. 

Baker. 25c. 

Merchant of Venice. 

Directions based on the prompt-book of Henry 
Irving. 

Baker. 25c. 

Macbeth. 

The version formerly used by the old Boston 
Museum Co. 

Baker. 25c. 


[135 J 




Play Catalogue 


The Winter’s Tale. 

Acting edition with producer’s preface by 
Granville B. Barker, and with special costume 
designs—as produced at the Savoy Theatre, Lon¬ 
don. 

Baker. 25c. 

Much Ado About Nothing. 

Arranged in 2 acts by L. Warren. Eight 
males, 3 females. Scene, a single interior—the 
same for both acts. Plays 1 hour. 

Baker. 25c. 

Much Ado About Nothing. 

In 5 acts—17 males, 4 females. Scenery, 
varied. Costumes of the period. Plays a full 
evening. 

This version arranged by Mr. Winthrop Ames, 
of The Little Theatre, New York. 

Baker. 25c. 

Twelfth Night or What You Will. 

Five acts. Plays a full evening. Scenery, 
varied. Based on the prompt-book of Miss Julia 
Marlowe. 

Baker. 25c. 

Twelfth Night. 

Acting edition with a producer’s preface by 
Granville Barker, and special illustrations and 
costume designs. As produced at the Savoy 
Theatre, Lnodon. 

Baker. 25c. 


The following Plays are edited and annotated 
by William Winter. The scenes and stage direc¬ 
tions are as used by Booth: 

1. King Richard II. 

Five acts—14 males, 2 females. Some of the 
parts can be doubled. 

Penn. 35c. 

2. King Richard III. 

Six acts—17 males, 4 females—if necessary 6 
of the males can fill two parts. 

Penn. 35c. 

3. Katharine and Petruchio. 

Two acts. Time 214 hours. 

Penn. 35c. 

4. Othello. 

Tragedy in 5 acts—11 males, 2 females. 

Penn. 35c. 

5. Macbeth. 

Five acts—14 males, 5 females. Time, 214 
hours. 

Penn. 35c. 

Comedy of Errors.—See Tor Boy Characters 
Only. 


The Plays of the following list are 25c each— 
French, publisher. Acting Edition: 

Tempest, Two Gentlemen of Verona, Merry 
Wives of Windsor, Measure for Measure, Comedy 
of Errors, Much Ado About Nothing, Love’s 
Labor Lost, Midsummer Night’s Dream, Mer¬ 
chant of Venice, As You Like It, Taming of the 
Shrew, All’s Well That Ends Well, Twelfth 
Night, Winter’s Tale, King John, Richard II, 
Henry IV (1st part), Henry IV (2nd part), 
Henry V, Richard III, Henry VIII, Coriolanus, 
Romeo and Juliet, Timon of Athens, Julius 
Caesar, Macbeth, Hamlet, King Lear, Othello, 
Anthony and Cleopatra, Cymbeline, Troilus and 
Cressida.* 

AMATEUR SHAKESPEARE— 
Especially Arranged for Amateurs 

Hamlet. 

Three acts—10 males, 3 females. French. 

Merchant of Venice. 

Three acts—10 males, 3 females. 

French. 25c each. 

As You Like It. 

Special Edition. Arranged especially for 
schools. Alfred Young, director of Shakespere- 
ian Dramatics, Smith College. 

French. 30c. 

Shakespeare for Community Players. —Roy 
Mitchell. 

Very definite detailed suggestions for all types 
of production. Hints on stage setting, make-up, 
lighting, costuming, etc. 

Dutton. $3.00. 


SOCIOLOGICAL 

For the Sake of Peggy. —Ragna B. Eskill. 

A Child Welfare Play in 1 act. Eleven fe¬ 
males and 10 males, 20 or more boys and girls. 

A simple, heart-touching little drama which 
well illustrates the aims and practical achieve¬ 
ments of the work. Contains drills and a song 
and is so arranged that it can serve as a climax 
to Child Welfare Week, and utilize the children 
who win the highest health points. 

The Eyes of Faith. —See Patriotic. 

A play on Americanization, showing how a 
patriotic woman won the affection and loyalty 
of misguided foreign born girls who try to run 
the country in their own way. 

French. 30c. 


* See addenda. 


[ 136 ] 




Play Catalogue 


America in the Making. 

Another bit of Americanization—a little play- 
showing the foreign born how he should be more 
appreciative of America and also showing the 
part the foreigner has played in the making of 
Our Country. 


SOUTH AMERICA 

Garcia Morena. —Father Bernard, O. M. 

Tragic drama in 3 acts. The scene represents 
Quito, Ecuador, in 1875, and is a play of pic¬ 
turesque political intrigue and tragedy. Sixteen 
male characters and extras. 

Herder. 

The Dictator. —See. 


SPANISH PLAYS 

1. A Bright Morning. —By Serafin and Joa¬ 
quin Quitero. 

(Poet Lore, Boston, Vol. 27, 1916, or Spanish 
Authors’ Society.) 

Simple exterior. Two males, 2 females—the 
old man, old lady ,the maid, and the valet. 

The two old people meet casually on a park 
bench as the sweet old lady is feeding the birds. 
The irascible old gentleman, during the conver¬ 
sation, recognizes the beautiful girl he had loved 
years ago. She slyly tries to conceal her identity, 
when she, too, recognizes her old lover. 

Dainty, refined comedy for two clever people. 

2. Castle in Spain. 

Two ladies. 

A lesson with the fan which proves interest¬ 
ing. 

French. 25c. 

3. Zaragueta. —Translated from the Spanish 
by C. Stratton. 

Farce comedy. Two acts, 7 males, 4 females. 

Carlos, a college student, is in debt to old 
Zaragueta, the deaf money lender. Feigning ill¬ 
ness, he journeys home to his uncle, Indalecio, 
hoping he may secure money on the plea that 
specialists have decreed that he must go to Paris 
for an operation. Zaragueta himself appears on 
the scene and gets the worst of it by having to 
take the cure intended for Carlos. He discharges 
his debt finally. 

Many ugly lines should be struck out which 
will improve the possibilities of the play for 
Catholics. 

Denison. 


4. The Americana. 

Mentioned in Plays for Girls. 

Baker. 25c. 

5. Her Only Love. —From Spanish of Cal- 
deros. 

El magico prodigioso—a work having to do 
with the early persecutions of the Christians. 

Eleven males, 4 females and extras. 

Herder. 

6. No Smoking. — Jacinto Benevente in 
Drama, Feb. 1917, or Four Plays—Benevente. 

Scene, compartment in a train in Spain. Two 
males, 2 females. 

Very funny and very characteristic. 

(Protected by international copyright). 

7. The Birthday of the Infanta. 

In Stuart Walker’s More Portmanteau adapta¬ 
tions. (See described here in One Act list— 
advanced. 

8. The Barber of Seville. —By Beaumarchais. 

Comedy. Four acts, 8 males, 1 female. Two 
scenes. Costumes are old Spanish in style, and 
the action takes place in Seville. It has perfect 
clarity of plot, swiftness of exposition, ingenuity 
of intrigue, crispness of action and a consum¬ 
mate understanding of theatrical effect. 

No royalty. Translated by W. R. Taylor. 

Baker. 60c. 

9. The Maids of Honor. —Thomas Walsh. 

Sec Advanced One Act Plays. 


SPANISH LANGUAGE PLAYS * 


1. Hablando se entiende la gente— “By their 
words ye shall know them.” Quitero. 

English version of play also can be obtained 
from Spanish Authors’ Society, etc.) 

One act, 2 males, 1 female. A play of the 
genero chico, and a play making great demands 
upon the skill of the actor. 


*See addenda. 


[ 137 ] 




Play Catalogue 


2. El si de las Ninas, El Moratin. 

Three act play—the author’s best work. Mod¬ 
erately difficult for Spanish students. Very in¬ 
teresting and full of action. 

Holt. 64c. 

3. La Muela del juicio. —Carrion. 

4. Tres comedias modernas. 

5. Las Solteronas. —Cocat y Criado. 

6. Los Pantalones. —Barranco. 

7. La Moza de Cdntaro. —Lope de Vesra. 

Holt. 

8. La Coja y el Encogido. —Hartzenbusch. 
For Spanish students of intermediate grade. 

Three act prose characte* comedy. Gives oppor¬ 
tunity for the study of spoken idiom. 

Holt. 90c. 

** 


STAGECRAFT—Works on 

Practical Stage Directing for Amateurs.— 

Emerson Taylor. 

A complete compendium of stage requirements, 
including the technic of the voice, a glossary of 
stage terms, advice on rehearsing, make-up, 
scenery, lighting and other diffieulites encoun¬ 
tered by the amateur producer. 

Its clear style and the somewhat humorous 
criticism used by the author make the book en¬ 
joyable and valuable. 

Dutton. $2.00. 

Practical Hints on Training for the Stage.— 

Agnes Platt. 

A stimulating and useful collection of inti¬ 
mate talks on the art of becoming an actor. 
Should be in the library of every Amateur thea¬ 
tre, club or group. Strongly recommended as 
practical and full of common sense. 

Dutton. $2.00. 

How to Produce Amateur Plays.—Barret H. 
Clark. 

Excellent hand book for an amateur director 
to possess. Good chapters on rehearsals, scenery, 
lighting effects, and costumes. 

French. $1.75. 

Producing in Little Theatres.—Clarence Strat¬ 
ton. 

This is the fullest, most up-to-date and help¬ 
ful book on the subject. Mr. Stratton’s knowl¬ 
edge of productions of notable plays in Little 
Theatres, and his wide study of the theatre in 
this country and abroad, make the work authori¬ 
tative. 

With 70 illustrations, of scenery, costumes and 
buildings. Comprehensive index—258 pages. 
Holt, $2.90. 


** See addenda. 


How to Stage a Play. —Harry Osborne. 

Stage lighting, scenery, screens, drapes and 
costumes, mechanical effects—all the fundamen¬ 
tal principals and secrets of' practicable stage¬ 
craft are fully explained, and the illustrations 
of various methods of stage settings are of par¬ 
ticular value. 

Denison. 25c. 

Studies in Stagecraft. —Clayton Hamilton. 

Holt. $2.25. 

Play Production in America. —Arthur Edwin 

Krows. 

With numerous illustrations. By a recent 
member of the staff of Winthrop Ames. 

The book tells of the acceptance of a play, its 
directing, preparing the stage, scenery, decora¬ 
tions, costumes, lighting effects, stage crew, 
managers, etc. 

Holt. $2.25. 

Amateurs’ Guide. 

Advice on stage deportment, speaking, and 
effective acting, etc., etc. 

French. 

Art of Scene Painting. 

French. 

Secrets of Scene Painting and Stage Effects. 

V anDyke-Brown. 

How to Make Up. —Helmer. 

The standard hand book and guide for the art 
of the make-up. 

French. 

Art of Theatrical Make-up. —Cavendish Mor¬ 
ton. 

Splendidly illustrated with portraits of the 
author in various stages of make-up and in some 
of his famous characterizations. 

Black & Co., London. 

How to Make Up. —S. J. Adair Fitzgerald. 

French. 50c. 

A valuable and very practical paper on Make 
Up is given in Practical Stage Directing for 
Amateurs by Emerson Taylor; (E. P. Dutton), 
and Mr. Stratton also has some good and very 
necessary hints on Make-up in his Producing in 
Little Theatres (Costumes and Make-up, ch. 8). 

A Book of Stunts and Other Numbers.—By 

Helen Ferriss. 

Producing amateur entertainments. Programs 
of the types described in this book may be defi¬ 
nitely and constructively useful in training for 
other dramatic work. ‘ ‘ Where light-hearted fun 
is the keynote of an evening’s entertainment 
there almost inevitably, we find Stunts. They 
are, perhaps, typical of American humor, calling 


[ 138 ] 




Play Catalogue 


for our national qualities of ingenuity, high en¬ 
thusiasm and love of fun.”—Ferris in Produc¬ 
ing Amateur Entertainments. 

Scenery.—See (Constance D’Arcy Mackav) 
Costume and Scenery for Amateurs under Cos¬ 
tumes. Special working handbook describing 
scenes such as can readily be adapted to little 
theatre, college, high school, grade school and 
town hall stages, aiming to suggest what is prac¬ 
tical, simple and artistic. 


STAGE CRAFT 

On Building a Theatre.—Irving Pichel. 
Necessary handbook for all those interested 
in the new movement in theatrical art.— 
(Theatre Arts.)* 


TABLEAUX 

Signing the Declaration of Independence.— 

Made up of the chief incidents which occurred 
in the debate and signing of the Declaration. 
The tableaux are inexpensive and easy, and any 
number of characters can be used. 

French. 25c. 

2. The Bachelor’s Reverie.—G. B. Faxon. 
One scene. One male, 9 females and a reader. 

Plays 20 minutes. Includes music, if desired. 
All the types of girlhood appear to the bachelor 
and from them he makes his choice. 

Baker. 25c. 

3. An Evening of Statuary and Tableaux.— 
G. B. Bartlett. 

Twenty-three tableaux with instructions as to 
costumes, etc. Suited for entertainments where 
elaborate preparation is out of the question. 
Contains cuts and directions for arranging stage, 
frames, etc. Baker. 25c. 

4. The Family Album.—K. F. Ellis. 

“As exhibited by Mrs. Almira Pease of Ho- 
kanum. ” Humorous entertainment in one act, 
1 reader and 1(5 people for tableaux. The pic¬ 
tures, 15 in number, are shown in a frame con¬ 
structed like an album, and reproduce humor¬ 
ously the usual “family album.” Plays 1 hour. 
Baker. 25c. 

6. Jerusha Dow’s Family Album—L. M. 

Parsons. 

Humorous entertainment in one scene—52 
“pictures” and reader. Baker. 50c. 


*See addenda. 


7. The Magic Mirror. 

Entertainment in two parts for 13 girls, 1 man 
and a reader. Plays 45 minutes; easily pro¬ 
duced. Baker. 25c. 

8. Maids of All Nations. —M. Burbank. 

One scene, 1 male, 15 girls in costumes of the 
nations. Plays 30 minutes. Baker. 25c. 

9. Patriotic Scenes Old and New. 

Scenery unimportant—patriotic figures in a 
series of tableaux accompanied by reading in 
verse. Baker. 25c. 

10 Tableau and Pantomime Entertainments. 

—C. E. Cooper, B. C. Porter, etc. Contains six 
moving tableaux. Baker. 35c. 

11. A Vision of Fair Women. —E. L. Winn. 

One scene; 45 minutes—no scenery; 40 females 
are called for, but a smaller number may be 
used. Baker. 25c. 

12. Women in War. —E. Godshaw. 

Patriotic; one act, 20 minutes; scenery sim¬ 
ple; 11 females. Representing the women in 
history who have been prominent in the wars 
of the world, accompanied by a descriptive read¬ 
ing. Baker. 25c. 

13. Tableaux and Scenic Readings. —Marie 
Irish. 

Twenty-two Scenic Readings, 4 Illustrated 
Songs, 3 Pantomime Plays and 18 Tableaux. 
The scenic readings are acted in pantomime 
while read by another person at the side of 
the stage. Easy to produce. Denison. 35c. 

14. Pictured Readings and Tableaux. —Ellen 
M. Willard. 

Illustrated readings, tableaux, pantomimes, 
shadow pictures. Familiar poems and stories 
have been used in a number of these. Detailed 
instructions for producing, stage arrangements, 
costumes, etc., are given. Denison. 35c. 

15. School and Parlor Tableaux. —Sarah L. 
Stocking. 

These embrace a wide range of subjects— 
classic, historic, humorous, etc. Full instructions 
as to costumes. The tableaux are simple and 
easily prepared. The book contains 58 tableaux 
and 5 pantomime plays. Denison. 25c. 

16. Riley Readings with Living Pictures.— 

Arranged by Laura C. Wegner. 

Tableaux use 1 male, 7 females, 19 children, 
which may be reduced by doubling. Detailed 
and explicit instructions for conducting a Riley 
evening, constructing simple, effective lighting 
effects, costumes, poses, settings, arrangement of 
program. Can be produced on any platform. 

Denison. 35c. 


[U9] 




Play Catalogue 


17. Tableaux Charades and Pantomimes. 

Easy tableaux, with readings from standard 
authors, form an attractive feature, as do also 
the statuary scenes. Paper binding, 40c. Penn. 

tf * 


TECHNICAL AND THEORETICAL WORKS 

1. Theory of the Theatre.—Clayton Hamil¬ 
ton. Henry Holt. $2.25. 

2. Problems of the Playwright.—Clayton 
Hamilton. Henry Holt. $2.25. 

3. British and American Drama of Today. 

Outlines for study, with suggestions, biog¬ 
raphies and bibliographies, together with histori¬ 
cal sketches, for use in connection with the im¬ 
portant plays of Pinero, Jones, Wilde, Shaw, 
Barker, Hankin, Chambers, Davies, Galsworthy, 
Masefield, Houghton, Phillips, Barrie, Baker, 
Lady Gregory, Yeats, Synge, Murray, Ervine, 
Howard, Herne, Thomas, Gillet, Fitch, Mackaye, 
etc., Stewart and Kidd. 

4 Producing in Little Theatres.—See Stage¬ 
craft. 

5. The Art Theatre.—See Sheldon Cheney. 

A discussion of its ideals, its organization and 
its promise as a corrective for present evils in 
the commercial theatre. 

Alfred Knopf, Chandler Bldg., N. Y. $2.50. 

6. Writing and Selling a Play.—Fanny Can¬ 
non. Henry Holt & Co. $1.50. 

7. How to Write a Play.—Frank Archer. 

French & Co. $1.75. 

See list of Reference Books under caption 
Reference. 

EUROPEAN THEORETICAL WORKS IN 
DRAMA 

European Theories of the Drama.—Barrett H. 
Clark. 

Anthology of Dramatic Theory and Criticism 
from Aristotle to the present day in a series of 
selected texts, with Commentaries, Biographies 
and Bibliographies. Stewart & Kidd. $5.00. 

Contemporary French Dramatists.—Barrett H. 
Clark. Stewart & Kidd. $2.50. 

European Dramatists.—Archibald Henderson. 

Stewart & Kidd. $3.00. 

Fifty Contemporary One-Act Plays. 

A representative collection from all over the 
world, compiled by Frank Shay and Pierre 
Loving. Stewart & Kidd. $5.00. 


VOICE 

Voice Training—Voice Production 

Practical Hints on Training for the Stage.— 

(Agnes Platt, who has not only coached many 
who are now famous on the English stage, but 
lias been dramatic advisor to practically every 
well known Loiitlon producer.) 

The chapters bearing particularly on the Voice 
are Chapters III—The Voice and its Potentiali¬ 
ties; IV—The Music of the Voice: its notes, 
Power of Suggestion and Magnetism; VII— 
Words and Their Spoken Value. 

A book that cannot be too highly recom¬ 
mended to either amateur, professional, to pub¬ 
lic reader, lecturer or preacher. E. P. Dutton. 

Elocutionary Charts of Elocution. 

Outline of elocution; large wall chart present¬ 
ing clear and practical analysis of the whole sub¬ 
ject. Penn. 50c. 

Table of Vocal Exercises. 

Small wall chart showing a systematic culti¬ 
vation of the voice in order to secure purity, 
power, flexibility and character of tone. 

Penn. $2.00. 

Practical Elocution. —J. W. Shoemaker, A. M. 

Penn. $1.75. 

Advanced Elocution. —Mrs. J. W. Shoemaker. 

Penn. $1.75. 

The Voice on the Stage. —See Practical Direct¬ 
ing for Amateurs.—By Emerson Taylor. 

Including the Technique of the Voice, Pause, 
Poise, etc. E. P. Dutton & Co., New York. $2.00. 

Play for Voices Only. —See Three Voices under 
One-Act and also under male characters list. 

Better Speech Drama. —Prang Educational Co. 


PLAYS OF WALES 

Three Welsh Plays. —Jeanette Marks. 

One of these was awarded first place for the 
best Welsh play in 1011 by the Welsh National 
Theatre. Little, Brown & Co. 

Robina in Search of a Husband. —Jerome K. 
Jerome.—See Drama list. 

This play transpires in a Welsh village. 

Western Drama and Plays. —See under Ameri¬ 
can list at beginning of catalog. 

Woodland Plays and Plays which require 
Woodland Setting without Conventional Stage 
or Effect. 


[ 140 ] 


**See addenda. 





Play Catalogue 


1. Midsummer Night’s Dream. —Shakespeare. 

2. As You Like It.— Shakespeare. 

3. Rainbow’s End. —Daniel A. Lord, S. .T. 

St. Louis University, St. Louis, Mo. 

4. Sanctuary. —Percy Macknve. 

A bird masque. Henry Holt. 

5. St. Patrick. —Charles Phillips. 

6. Pageants. —See under separate list. 

7. The Spirit of the Woods. —Mrs. Arthur T. 
Seymour. 

Play in one act for 8 female characters. 

French. 

8. The Fairy Woods. —Irene Jean Crandall. 

A play for young people-—a prologue and two 
acts. A fairy play in which a little girl con¬ 
verts her matter-of-fact brother to a belief in 
fairies. Introduces a smaller play in which all 
the characters are flowers. Simple to stage. 

French. 30c. 

9. Anita’s Trial or Our Girls in Camp.— E. B. 
Tiffany. 

Eleven females; one scene only—a camp in 
the woods. Camping costumes. Plays 2 hours. 

Baker. 35c. 

10. Pan Pipes. —Constance Wilcox in Told in 
a Chinese Garden. 

“Four of a Kind” in this volume not recom¬ 
mended. Henry Holt. $1.50. 

11. The Foresters. — Tennyson’s Collected 
Works. 

12. The Forest Princess, —The Forest Prin¬ 
cess and Other Masques.—By Constance D’Arcy 
Mackav. Henry Holt. $1.50. 

13. The Fairies’ Child. —Gertrude Knevels. 

For 10 or more children. Time—50 minutes. 

Full description for making costumes. Dialogue 
simple and easily learned. Penn. 25c. 

14. The Wonder Gate. —Jane Abbot. 

Fairy play in two acts, one scene, 5 males, 

2 females, with a number of children to act as 
fairies. Costumes partly modern, partly military 
and partly simple fairy dresses. Time—1 hour. 

Penn. 25c. 

15. Sherwood. —Alfred Noyes. 

The story of Robin Hood and the three kings 
arranged in dramatic form. This edition is pre¬ 
pared for acting in schools and colleges and 
contains directions for production, including 
staging, lighting, costuming, casting, property 
lists, stage diagrams, directions for dances and 
music, and suggestions for interpretation and 
acting. Stokes. $2.50. 


16. Wild Animal Play.—Ernest Seton Thomp¬ 
son. 

Sixteen parts for children impersonating ani¬ 
mals. Doubledav, Page & Co. 50c. 

17. Bird Play.—Nellie Spangler. 

In which children represent birds. Penn. 25c. 

18. Pericles.—Shakespeare. 

Arranged by Elliott in Little Theatre Classics. 

19. See “Tadpole School’’ in Outdoor list. 


YOUNG PEOPLE’S PLAYS 

The following are published by Samuel French 
& Co., New York. 

1. For Old Eli.—By Lloyd Oscar Thompson. 

A comedy of college life in 4 acts. Three in¬ 
terior and 1 exterior scenes. Plays 2% hours. 
Fifteen males, 8 females. 

This is a most successful college play that 
requires no elaborate scenery or costuming. It 
contains a little love interest, while the ever 
shifting college groups form the background. 

2. Our Career.—By Edna Riese. 

Farce comedy of college life in one act for 
8 males, 8 females. One interior scene; 40 min. 

Mrs. Dunn comes to Berkeley to live with hex 
son and daughter for the college there and takes 
a boarder who falls in love with the daughter. 
How he builds up his career is the story. 

3. Dan Cupid, Head Coach. 

A comedy in 3 acts for 16 males, 7 females. 
One interior and 2 exteriors. Plays 2 hours. 

4. Slats.—By Bessie W. Springer. 

College comedy in two acts for 8 males, 3 fe¬ 
males. One interior. Plays 1*4 hours. 

6. The Man Without a Country.—See plays 

in American list. 

6. Cupid in Khaki.—By Hilliard Booth. 

A play in two acts. One simple interior. 

7. Cupid at Vassar.—Owen Davis. 

Comedy in 4 acts. Two interior and 1 ex¬ 
terior. This comedy suited to girls’ colleges, as 
can be played by all girls—4 male, 9 females— 
two of the male parts are eccentric parts. All 
college atmosphere. Last act contains the 
famous daisy chain. 

8. The Romance Hunters. 

Bubbles with fun and full of incident. In 3 
acts for 6 males, 8 females. The last act 
represents a lawn party. Act one begins as a 
strawberry festival. As all three acts are ex¬ 
teriors, could be effectively given out of doors. 


[ ] 



Play Catalogue 


9. Home from College.—By Phelps Short. 
Amusing sketch for 4 male characters. Time 

15 minutes. See Boys’ plays. 

10. A College Cinderella.—By Edward B. 

Kidder and Augusta R. Kidder. 

Three act play for 12 characters—4 male, 8 
female. One interior. A play within a play. 
Easily played, full of action and interest. A 
faintly suggested love story, good comedy and 
a number of well known college characters. 

11. Miss Somebody Else. 

For 6 males and 1 female. Dialogue bright 
and play full of action. 

12. The New Co-ed.—Marie Doran. 

Comedy in 4 acts for 4 males, 7 females and 

any number of extras. One interior, one exterior 
—can be played in one interior. Plays 2 hours. 
The theme is the coming of a new student to 
the college, her reception by the students, her 
trials and her final triumph. Three good girls’ 
parts and all the others have plenty to do. 
Punch Doolittle and a colored part are good 
comedy characters. 

13. The Varsity Coach. 

Three act play of college life—two scenes, 
typical college man room and campus. Plays 2 
hours. Nice little play with opportunities for 
college songs and stunts. 

14. Commencement Days. — Virginia Frame 
and Margaret Mayo. 

Three act play of college life. (See Girls’ 
plays.) 

15. A School Boys’ Dream.—A. E. Harris. 
Play in two acts. Especially designed for 

schools. Any number of male and female char¬ 
acters can be used for Mother Goose characters, 
etc., people of various ages. One simple interior. 
Plays 1 hour. The story book friends of the 
boy come to him in a dream. 

16. The Honor of the Stars and Stripes.—Ma¬ 
rion Short. 

Patriotic play in 4 acts. (See War plays.) 

17. A Girl to Order.—By Bessie W. Springer. 

A lively college sketch for 5 males, 1 female. 
College youth writes home giving excuse for his 
expenditures that he is engaged, his father 
comes to visit him and the girl happens in at 
the same time. He reforms, etc. 

18. Music Hath Charms.—See Boys’ plays. 
One-act college skit, introducing quartettes, 

banjos, etc. 


19. The Girl and the Pennant. —Rida Johnson 
Young and Christy Matthews. 

Comedy in 4 acts for 16 males and 3 females. 
Splendid comedy—the best play ever written, 
with baseball as the background of the story. 
Three exteriors, two interiors. Plays 2% hours. 

Fifty cents. 

20. Alatoona>— See Civil War list. 

21. At Yale. —Owen Davis. 

Comedy drama of college life, 3 acts. Plays 
2 y >2 hours. A play with a distinct college set¬ 
ting for 16 males, 4 females. Athletics are a 
prominent feature. Pretty college girls, fresh¬ 
men, telegraph, messenger boy, coaches, college 
boys, members of crew—any number of males 
and females can be used in the ensemble. 

22. The Honor of the Class. —See Girls’ list. 

For 9 girls. 

23. The Trials of Mary. —By Marie Doran. 

Comedy in 4 acts. The theme is written 

around the harm done by unfounded and spite¬ 
ful gossip. It has humor and character studies 
and an opportunity to introduce music. 

Publications of Baker & Co., Boston; 35c un¬ 
less otherwise listed. 

24. Hail the Conquering Hero. —A. C. Rowell. 

Comedy in 3 acts for 8 males, 5 females. One 
exterior. Plays a full evening. 35 cents. 

David, an artist, is believed by his relatives 
to have been a slacker, but when two foreigners 
visit his city he proves that he too can be a 
hero. 

25. Enlisted for the War. —See War dramas. 

26. The Time of His Life. —C. L. Dalryinple. 

Comedy in 3 acts for 6 males, 3 females. Two 
interiors. Plays 2% hours. 

Mrs. Grey persuades Brother Tom to imper¬ 
sonate the absent colored butler. The butler 
returns in the midst of the dinner party and 
complications ensue. A hypochondriac is a good 
eccentric part. 35 cents. 

27. The Hero of the Gridiron. 

College comedy in 5 acts for 9 males, 4 fe¬ 
males and extras. Easy interior and exteriors. 
Plays 2 hours. Easy and remarkably effective 
in performance. Royalty, $5.00. 

The Cribber. —W. P. McIntosh. 

Comedy in 3 acts for 6 males, females. Three 
easy interiors. Plays 1*4 hours. 

Student finds examination paper a professor 
has mislaid and hides it in another student’s 
desk, where it is found in a search for a lady’s 
letter by a jealous rival. 25c. 


[142 l 



Play Catalogue 


28. The District Attorney. —E. Wilkins. 

Comedy drama in 3 acts for 10 males, 6 fe¬ 
males. Two easy interiors. Plays a full evening. 

Bob Kendrick, college athlete, loves Dorothy, 
but she will not hear him until he has made 
a start in life. He gets elected district attorney 
and prosecutes Dorothy's father, but when she 
learns that in pursuit of duty he has not spared 
his own father’s name she forgives him. 

29. How Jim Made Good.— C. S. Bird. 

Comedy-drama in 4 acts for 7 males, 3 females, 

tw T o male parts can be doubled. Three interiors. 
Plays 2 hours. Easy to get up—all parts good. 

25 cents. 

French 

30. The New Boy. —See Drama list under 
heading “Less Advanced.’’ 

31. My Friend from India. —See Drama list 
under heading “Less Advanced.’’ 

Baker 

32. Everywoman. —W. Browne. 

Modern morality play for 15 males, 20 fe¬ 
males. Scenery elaborate. Costumes fanciful. 
Plays a full evening. 

33. The Revenge of Shari-Hot-Su.— See list 
of Japanese plays in this catalog. 

Mose. —C. W. Miles. 

Comedy in 3 acts for 11 males and 10 females. 
Scenery, two interiors. Plays 1*4 hours. 

A farce, introducing singing. Mose, a foot¬ 
ball hero, endures the charge of robbing his 
fraternity in order to shield the brother of the 
girl he loves. 25c. 

34. Aunt Abagail and the Boys. —L. F. Mer- 
riam. 

Farce in 1 act for 9 males, 2 females. An 
interior scene. Plays 1 hour. 

Aunt Abagail, who hates boys, visits Gerald 
in college and finding him dressed in female 
costume for theatricals takes him for his sister 
Geraldine. 25c. 

35. A Class Day Conspiracy. —A Tassin. 

Comedy in one act for 2 males, 3 females. 

Scene, a college room. Plays 40 minutes. 

Tells a familiar incident of Harvard’s “Class 
Day’’ in a new and original way. 

36. Pa’s New Housekeeper. —See Farces in 
this catalogue. 

37. Per Telephone. —See Farces in this cat¬ 
alogue. 


Denison 

38. The Star Boarder.—See Farces in this 
catalogue. 

39. Taking Father’s Place.—See Farces in 

this catalogue. 

40. The Gold Bug.—W. B. Hare. 

Seven males, 7 females. Easily arranged in¬ 
teriors. Plays 214 hours. Written upon the 
basis of Poe’s story for the plot. A modern 
comedy of youth, love, mystery and adventure. 
Four acts. Royalty, $15. 

41. Chums.—F. A. Harris. 

A farce in one act for 3 males, 2 females. 
One interior. A very funny piece, the principal 
situation anticipating Charley’s Aunt. Plays 
45 minutes. 25 cents. 

42. Professor Pepp.—W. B. Hare. 

Farcical comedy of 3 acts for 8 males, 8 fe¬ 
males. Scene, easy exterior for all acts. Plays 
2 hours, 20 minutes. 

Professor Pepp on a vacation trip to Russia 
gets mixed up with some Nihilists and draws the 
red ball which 'obliges him to murder a Russian 
princess. The Nihilists pursue wherever he goes 
and the terrified professor sees a Nihilist in 
every bush. 

43. Mr. Bob.—R. E. Baker. 

Comedy in two acts for 3 males, 4 females. 
One interior. Plays 1*4 hours. Price 25c. 

Mr. Bob is a nickname for Marion, who visits 
her chum where the brother is expecting a 
friend, Brown. Marion supposes Brown to be 
her chum’s brother and a general confusion of 
identities ensues. One of Baker’s best sellers. 

44. *The Cool Collegians.—M. Medic. 

Comedy in two acts for 3 males, 4 females. 

Scenery easy. Plays 1*4 hours. A college play, 
easy and popular. Written especially for a very 
strict church audience. Price 25c. 

*A Telegram from Dad.—J. M. Taylor. 

Farce in one act for 6 males, 1 female. Scene, 
an interior. Plays 30 minutes. A college farce. 

Price, 25c. 

*46. The Private Tutor.—E. J. Whisler. 

Farce in 3 acts for 5 males, 3 females. Two 
simple interiors. Plays 2 hours. 

Two college boys try to disguise the fact from 
the family of one of them that they have been 
“rusticated.” Leader of German band is en¬ 
gaged as private tutor. 


[ 143 ] 



Play Catalogue 


*47. Engaged by Wednesday. —G. A. Owen. 

Farce in 3 acts for 5 males, 11 females. Scen¬ 
ery unimportant. Plays l 1 ^ hours. 

Scheming parents plan that Arthur and Lucile 
must marry, and after a lapse of seven years 
they meet,' but each has friends masquerading 
under their names for a day. Easy, funny and 
effective. 

*48. Quits. —A. E. Brown. 

Comedy in one act for 2 males, 3 females. 
One interior. Plays 45 minutes. A college play 
full of movement. 25c. 

49. The Air Spy. —See War plays. 

*50. Class Day. —F. A. Harris. 

Farce .in one act for 4 males, 3 females. Scene, 
an interior. Plays 40 minutes. 25c. 

*51. Two Strikes.— T. H. Guild. 

Comedy in two acts for 6 males, 1 female. 
Scenery, two interiors. All the parts can be 
played by boys. Plays 1% hours. Deals with 
college baseball. 25c. 

*52. A College Man.— E. R. Silvers. 

Comedy in 4 acts for 6 males, 4 females. 
Scene—an interior. Plays 1% hours. 

Budd Stone, going through college on money 
supplied at a great sacrifice by his father, has 
won the regard of Zelda Saunders. The father 
wants to get the money back to pay a mort¬ 
gage and many complications follow. 25c. 

*53. The College Ball. —H. 0. Osgood. 

Comedy in four acts for 7 males, 5 females. 
Scenery—three interiors. Plays 2 hours. 

Kitty, a professor’s daughter, piqued by Tom’s 
refusal to betray society secrets, lowers his 
marks to disqualify him from pitching for the 
college. 25c. 

*54. The College Chap. —H. L. Newton and J. 
P. Roche. 

Comedy-drama in three acts for 11 males, 7 
females. Scenery—two interiors. Plays 2^> 
hours. 

Dave Crane fails at college, but nettled by 
the rebuke of Madge, whom he loves, he tries to 
reform. As an editor he exposes the rascality 
of Madge’s father and incurs his hatred. He 
later becomes a successful hotel manager and 
wins Madge. 35c. 

*55. College Days. —G. M. Rosener. 

Comedy in three acts for 10 males, 4 females. 
Scenery—two interiors and an exterior. Plays 
2 hours. 

Quincy Jordan makes good at Westover Col¬ 
lege with head and fists, and not only defeats 


the plot for his downfall that his rivals lay for 
him, but comes out a victor in college and wins 
the girl he loves. 35c. 

*56. The College Politician. —W. H. Weis and 
D. T. Howard. 

Farce comedy in three acts for 16 males, 5 
females. Scenery, three interiors. Plays 2 hours. 

Ted Kingsley applies political methods to the 
problem of winning the election for football 
manager in his college, and after an exciting 
campaign in which he shows great ability in 
this line, he wins the office and the sister of his 
rival at one blow. 25c. 

*57. Constantine Pueblo Jones. —E. D. Fowle. 

Farce-comedy in three acts for 10 males, 4 
females. Scenery—two interiors. Plays 2^ hrs. 

Mr. Jones advertises for a long-lost son and 
has a large number of varied applicants for the 
job. Characters include two detectives, a tramp 
and other straight and character parts. 35c. 

*58. An Easy Mark.—I. G. Osborn. 

Farce in one act for 5 males, 2 females. Scene, 
an easy interior. Plays 35 minutes. A farce of 
college life. 25c. 

College Plays Published by Denison, Chicago 

59. Five Minutes from Yell College.—Harry 

L. Newton. 

Dutch rapid fire talking act. Two males. 
Time—15 minutes. Jack Schmaltz, who got the 
learning, and his uncle who paid for it. 

60. A Watch, A Wallet, and a Jack of 
Spades. —Lindsey Barbee. 

Comedy for 3 males, 6 females. Scene, a liv¬ 
ing room. Time—40 minutes. 

Three famous detectives are engaged to un¬ 
ravel the mystery of the disappearance of a 
roomer. At intervals a number of his personal 
belongings are returned by post. The wise 
sleuths discover bushels of clues that in¬ 
volve everybody and bring about a humorous 
climax. The case was the invention of an 
imaginative girl in an attempt to secure material 
for a mystery play. French, Irish and colored 
servant comedy parts. Will appeal to schools 
as there is no love theme. 25c. 

61. After the Game. 

College comedy in two acts for 1 male (can 
be played by girl) and 9 females. Plays 1 Yj hrs. 

62. Every Youth. —Harry L. Newton. 

Moral fantasy in three scenes for 7 males and 

6 females. Scenery, one simple interior; 1^ hrs. 

Patterned after the great success, “Every¬ 
man,” but in a setting of today. 

63. The Graduate’s Choice. —See list of Girls’ 
plays in this catalogue. 


1144 1 


* Baker publications. 





Play Catalogue 


Plays published by Penn, Philadelphia 

64. A Frat Initiation. —Louise Boyce Murphy. 

Farcical sketch in one act for 2 males and 1 

female. Scene, a simple interior. Plays 30 min. 

Jack Leslie, as a candidate for a fraternity, is 
placed as a butler in the home of Molly Stuart, 
whom Jack has admired from a distance. He 
has to suffer all sorts of indignities before five 
o ’clock strikes and sets him free. Molly is de¬ 
lighted to find she has had a part in a real 
college initiation. 25c. 

65. The Fortunes of War. —Louise Latham 
Wilson. 

Farce in one act for 5 females and 1 male— 
can be played by a girl. Scene, plain interior. 
Plays 45 minutes. The sorority of the Tau 
Phi Gamma—the joke the boys played on them, 
and how they turned the joke on the boys. 25c. 

66. The Senior. —Edwin Bateman Morris. 

College comedy in three acts. Scenes, two in¬ 
teriors and one exterior. Nine males—2 parts 
may be doubled—6 females—2 parts may be 
doubled. Plays 2 hours. 

Percy Spencer and other seniors look down 
on Gordon Wainwright, who though of an old 
Virginia family has worked his way through 
college by keeping a lunch room. A thunder¬ 
shower compels Eleanor Forbes to take refuge 
in the lunch room and she meets Wainwright. 
Mrs. Lee, Eleanor’s aunt, forbids her to see 
Wainwright again. But when Mrs. Lee meets 
Wainwright she finds he is the son of Letty 
Page, an old friend. The curtain falls on a 
pretty love scene. 35c. 

67. Returning the Calculus. —Louise Latham 
Wilson. 

College comedy in one act for 4 males, 5 fe¬ 
males. Scene, a college girl’s room— 45 minutes. 

A series of complications ending in a love 
story. 25c. 

68. Prexy’s Proxy.—Hilliard Booth. 

Farce comedy in two acts for 4 males, and 3 
females. Scene, a simple interior. One hour. 

A college play full of humorous misunder¬ 
standings and a pretty love interest. 25c. 


69. The Freshman.—Edwin Bateman Morris. 

College comedy in three acts for 7 males, 4 

females. Scenes, two easy exteriors, one simple 
interior. Two hours. 

John Worden’s father, a millionaire, is deter¬ 
mined his son shall go through college like a 
poor man’s son. Some hazing sophomores make 
John mend a pavement, when Mary, a pro¬ 
fessor’s daughter sees him, guesses him to be a 
student, and hires him to repair a wall in her 
father’s house. When she finds out that he is 
a freshman she takes an interest in his ad¬ 
vancement and assists him to escape when the 
sophomores lock him up. It is only after they 
are engaged that she discovers that he is the 
millionaire’s son. 35c. 

70. June.—See Easy Dramas. 

71. Seventee n.—Booth Tarkington.—See 
Dramas—Medium difficulty. 

72. Then Greek Meets Greek.—L. Barbee. 

Comedy in one act for 12 females—three may 
be played by men, two by children. Plays 1 hour. 
Embodies the idea of Greek mythology in mod¬ 
ern attire and surroundings; the scene is Hera’s 
living room in the Olympus apartment house dur¬ 
ing the “rushing season.’’ Denison. 25c. 

73. The Trials of Mary.—Marie Doran. 

Comedy in four acts. One interior. A play 

developing the harm that may result from un¬ 
founded and spiteful gossip. Good humor and 
character studies and an opportunity to intro¬ 
duce music. French. 30c. 

See Plays for Girls. 

See Plays for Boys. 

See Farces. 

See Educational Plays. 

See Plays of France and of other countries. 

See Outdoor Plays. 

See Days We Celebrate list. 

See American list. 

See Patriotic list. 

The Ghost Story.—Tarkington. 

Baker and Stewart & Kidd. 50c. 


[U5] 






Play Catalogue 


ADDEND A 


ALABAMA 

Augustus Thomas. Drama 4 acts; 8 males, 4 
females; 2*4 hours. Exteriors. Strong charac¬ 
ters—the part of Colonel Moberly was a famous 
characterization for years. 

Dramatic Publishing Company. 


MASSACHUSETTS 

Rose o’ Plymouth Town. —By Beulah Marie 
Dix and Evelyn Greenleaf Southerland. Rom¬ 
antic comedy. Four acts. One interior, one ex¬ 
terior. 

Costumes, period, 1622 in New England. 
Plays entire evening. 

Delightful and charming play. All characters 
good, very evenly balanced for amateur prod¬ 
uction. 60 cents. Royalty. 

Dramatic Publishing Co. 


NEW YORK 

Rip Van Winkle. —By Chas. Burke. Two acts. 
Eleven males, 3 females, and one child. Plays 
two hours. 25c. 

Dramatic Publishing Co. 


CIVIL WAR 

The Veterans of 1812. —Romantic military 
drama by T. Trask Woodward, in 5 acts, for 12 
males, 2 females. The play has been arranged 
with a view to its performance by military or¬ 
ganizations. 

Dramatic Publishing Co. 25c. 


ALLEGORIES 

Lady Poverty. —Father Cuthbert. 

A thirteenth century Allegory. 

Burns, Oates, London. 

BOYS’ PLAYS 

The Filming of Uncle Tom’s Cabin— By 

Arthur Le Roy Kaser. 

One act: a burlesque entertainment for 4 
males, 4 females which can be played by boys. 
Denison, publishers. 25c. 


The Lamentable Tragedy of Julius Caesar.— 

Burlesque in song and verse by O. W. Borland. 
Twelve singing parts. 

Dramatic Publishing Co. 25c. 

Francesco Carrara, Drama. —Three acts, for 8 
males. Powerful drama of Middle Ages in Italy. 
Dramatic Publishing Co. 25c. 


CHILDREN’S PLAYS 

The Fairy Ring.— Marjorie Benton Cooke. 

Three boys, and 3 girls and extras. Can be 
played out-doors. 

Alice in Wonderland. —Dramatized by Mrs. 
Burton Harrison. 

Sixteen males, 14 females. An incomparable 
little play for children which interests grown¬ 
ups as well. 

King in Disguise. —One act. Five males, 8 fe¬ 
males. Story of King Alfred and the cakes and 
his sojourn at neatherd’s cottage. 

Mother Goose comedy, play, one act, E. Merri- 
man—two boys, and two girls—20 minutes. 

Nightingale and Lark. —Play for children by 
Ella Keating, two boys and extras. 

The Sick Doll. —Play, one act, by Effie Merri- 
man; three little girls. Plays ten minutes, and 
very quickly learned. 

Three Fairy Gifts. —Two males, 6 females; 
scene, a wood, pretty little play. 

Three Newsboys. —By E. Merriman, for 3 boys. 
Plays ten minutes. 

The above plays, 25c each. Dramatic Pub¬ 
lishing Co. 


CHRISTMAS PLAYS 

Christmas Carol. —In seven staves. New 
dramatization of Charles Dickens’ charming 
story by Clarence Satterlee. Fifteen males, 7 
females, and extras. Plays one hour, three in¬ 
teriors. Dramatic Publishing Co. 25c. 

Mother Goose Christmas Visit. —An original 
entertainment for children. Edith Thompson 
Langley. Complete, with music. 30c. 

French & Co., publishers. 


[ ] 




Play Catalogue 


The Christmas Story. —A play in four scenes; 
Virginia A. Griswold. Large cast required; at 
least ten principal characters. The scene where 
Anna and Simeon come to the crib, not being 
according to Scripture, should be omitted. 

Fiat Lux. —A modern mystery play in one act 
by Faith Van Valkenburgh Vilas. 

Very fine Christmas play which teaches a 
splendid lesson; for three male characters, one 
girl and “waits.” One interior. 

French. 35c. 

The Night Before Christmas. —Win. Patterson 
Taylor, three short acts. A dramatization of the 
well known poem. French. 30c. 

A Dream on Christmas Eve. —Ina Home—easy 
to produce. French & Co. 30c. 

CHINESE PLAYS 

Chinese Love. —By Hubert Ropp and McKin¬ 
ley Dirksen. 

In two acts. Six males, 6 females. Time 2% 
hours. One interior; a novel idea in stage set¬ 
tings, which is fully described in the book. Very 
good little play; showing conflict between old 
and new world customs in a Chinese community 
in America. Ten dollars fee for performance 
and 50c per copy. Denison. 


CLASSICAL PLAYS 

The Fatal Dowry. —By Philip Massinger. A 
tragedy in five acts. T. Dolby, London. 

John Drvden’s Dramatic Works in six vol¬ 
umes, including The Conquest of Granada, pub¬ 
lished by J. Tonson, London and Scott, Foreman 
& Co., New York and Chicago. 

DAYS WE CELEBRATE 

October 4—The Twilight Saint. —By Stark 
Young in Addio and Other Plays, published by 
Charles H. Sergei. Dramatic Publishing Co.. 

The characters in this poetic, and beautiful play 
are: St. Francis of Assisi, Guido, a young poet, 
Lisetta, his invalid wife, Pia, a neighbor woman. 
Time, 1215. ($1.25.) 

Entertainments for every month. 

Dramatic Publishing Co. 35c. 


DRAMA 

Thy Will Be Done. —By Walter E. Keally, 
A.M.S.T.B. A religious drama in four acts, 
which is a plea to Catholic parents not to in¬ 
terfere with their children’s call to the higher 
life. 


Twelve male speaking parts, 4 female and 
extras for prison guards, etc A vivid, stirring 
play especially appropriate for a parish Christ¬ 
mas play, with a beautiful tableaux of the 
Stable at Bethlehem. Application for acting 
rights are to be made to Miss Ella J. Letzkus, 
at the Letzkus Press, 2008 Jenkins Arcade/ 
Pittsburgh, Pa. 

The book contains full explanations of the 
characters and several fine illustrations of the 

sets. 

The Ladies’ Battle, comedy, three acts, by 
Scribe and Legouve for 7 male, two female 
parts. Two hours. One scene throughout. Very 
interesting play; concerns the story of a niece 
and her aunt who both fall in love with the 
same man. 

Dramatic Publishing Co. 25c. 

Pemnark Abbey, by William M. Thackeray, a 
nautical melodrama in five acts for 1 male, 1 
female. Two hours. Costumes. French peasant 
and sailor-dress. Two exteriors, one interior. 

Dramatic Publishing Co. 25c. 

Rose O’Plymouth Town. —Good, romantic 

comedy. 

See under Massachusetts in addenda list. 

The Heart of a Shamrock, by George M. 
Rosener, for 4 males, 4 females. Three acts, 
one interior, a sitting room. Father O’Neill, 
fine sympathetic part. The scene of the play 
transpires in a small town in Colorado. 

Dramatic Publishing Co. 50c. 

Chinese Love. —See under Chinese plays, ad¬ 
denda list. 

The Green Elephant. —Maurice Baring in The 
Grey Stocking and other plays, Houghton, 
Mifflin, Boston and New York. Play in four 
acts. Six males, 4 females. Interiors. Clever 
play of intrigue and mystery in a fashionable 
home in England. 

A play requiring skilled acting, especially for 
the part of Lady Warburton, good character 
lead. 

The House of Sand. —Ignatius Walsh, Loyola 
University Press. A mediated tragedy in four 
acts with a cast of some 30 parts for men— four 
female parts. 

ENTERTAINMENTS 

The First Day of School. —Mayme Riddle 
Bitney. All the characters are to be played by 
“grown-ups” in old-fashioned country clothes. 
Thirty minutes. Eight males, 12 female parts. 
Very funny. Denison. 30c, 


[U8] 



Play Catalogue 


Huldah’s Parin’ Bee, an entertainment repre¬ 
senting the old-time customs of New England, 
by Adelaide H. Wyeth. 

Nine males, 11 females. Scene, New England 
living room. There are three ‘old” characters, 
the remainder are juvenile. 

Dramatic Publishing Co. 35c. 


FOLK PLAYS 

Carolina Folk Plays.—Five one-act plays 
edited with an introduction on Folk-playing, by 
Frederick H. Koch, Professor of Dramatic Lit¬ 
erature, University of North Carolina, illustra¬ 
tions from actual performances of the plays. 
Henry Holt. $1.25. 


FRENCH PLAYS 

Suzanne, comedie en un acte (5 characters), 
25c, and La demoiselle de compagnie, comedie en 
un acte (6 characters), 25c. 

The above call for ladies in the roles. 

Dramatic Publishing Co. 

Two Strings to Her Bow.—Mrs. B. Harrison. 

One act. Early nineteenth century. French 
costumes. One hour, 20 minutes. 

Dramatic Publishing Co. 25c. 

A Game of Cards, (from the French) comed¬ 
ietta, one act. Three males, 1 female. ‘ ‘ The 
story is French, thoroughly French. Nowhere 
else but in France do the parents nowadays 
propose for their children and nowhere perhaps 
do the children when grown-up, show such beau¬ 
tiful devotion to their parents.”—L. J. Hol- 
lenius.. Dramatic Publishing Co. 25c. 

Gringoire.—Translated by Arthur Shirley. 

Four males, 2 females. Louis XI costumes. 

Dramatic Publishing Co. 25c. 

Violin Maker of Cremona—from the French 
by Coppee. 

Three males, 1 female. 

Dramatic Publishing Co. 25c. 


GIRLS’ PLAYS 

87. Miss Deborah’s Pocketbook.—A. C. 

Thompson. 

One act, interior, 45 minutes. Six females. 
Thirty minutes. How a dimity gown and des¬ 
tiny changed the views of a wealthy woman in 
a small town is set forth in this play. 

88. Miss Susan’s Fortune.—A. C. Thompson. 
Comedy, one act. Interior. Six females. 


89. The Golden Hope. —G. R. Bridgham. 
Play, two acts, two hours. Simple setting. Nine 
females. The best acting must be done by girl 
taking part of a blind girl. 

90. Surprised. —C. J. Denton. Comedy, one 
act. Easy stage setting. Thirty minutes. 
Eight girls. Young school teacher takes the 
place of a servant for a few days and gossips 
try to make trouble, but the teacher turns the 
tables. 

91. The Return of Letty. —A. C. Thompson. 
Comedy, one act; 45 minutes. Interior. Six 

females. 

92. Reflected Glory.— H. S. Griffith. 

Comedy, one act. Interior; 45 minutes. Six 

females. 

93. The Betty Wales Girls and Mr. Kidd.— 

College comedy; 3 acts. Two interiors; two 
hours, 11 girls. Betty and her friends invent a 
freshman named Georgia Ames and play a hoax 
on a sophomore. 

The above published by Penn & Co. 

94. After the Game. —Lindsey Barbee . 

College comedy, two acts; 114 hours. Nine 

females, 1 male, which is not a prominent part 
and can be played by girl. Two interiors. 
Bright comedy, but with a love interest. 

95. . Aunt Matilda’s Birthday Party. —A. C. 

Thompson. 

Comedietta; 11 girls; 35 minutes. Easy set¬ 
ting. Nice little play. 

96. Two Aunts and a Photo.— M. B. Whiting, 

comic sketch for 4 females; 20 minutes. 15c. 

97. Fudge and a Burglar.—A. C. Thompson, 
Farce; 15 minutes. Easy scene. Five Girls. 

15c. 

98. The Graduate’s Choice. —Edith Painton. 
Commencement playlet for 12 girls; 35 min¬ 
utes. Youth meets the virtues and also the 
vices and wisely selects her future companions. 

99. Honest Peggy.—A. C. Thompson. 
Comedietta; 25 minutes. Interior. Eight 

girls; 25 minutes. Two rich aunts select Peggy, 
who attends to household duties to accompany 
them to Europe instead of their other prettier 
but selfish niece. 25c. 

100. The Luckiest Girl. —A. C. Thompson. 
Comedietta; 15 minutes, for 4 girls. 15c. 

101. The Red Parasol. —A. C. Thompson. 

A clever little comedy for 8 girls. One girl 
advertises for a lost parasol, offering reward. 
The “ad” results in a deluge of parasols of all 
sizes and colors; 25 minutes. 


[U9] 



Play Catalogue 


102. Sing a Song of Seniors.—Lindsey Bar¬ 
bee. 

Comedietta. Seven females; 30 minutes. In¬ 
terior. A girlish looking stranger, presumably 
a freshman, in reality a new member of faculty, 
is hazed by a bevy of seniors. 

103. The White Caps.—Nettie Pehlani. 

For i) little girls; 30 minutes. Admits a var¬ 
iety of songs and recitations or other specialities. 

104. Abbu San of Old Japan.—W. B. Hare. 

Comedy, drama; two acts; 15 girls. All charac¬ 
ters Japanese, except American newspaper 
woman and colored Mammy. 

The above published by Denison at 25c, un¬ 
less otherwise stated. 


The following published by Dramatic Pub¬ 
lishing Co. 

Lamentable Tragedy of Julius Caesar—Ona 
W. Borland. 

Burlesque in song and verse; 12 singing parts; 
45 minutes. 25c. 

The Lamentable Tragedy of Omelet and Oat- 
mealia, burlesque of Hamlet, in song and verse, 
by author of above; 12 parts; 50 minutes. 25c. 

Temple of Tame.—Plays a full evening, one 
set. Concerns the contest for a laurel wreath 
by well known feminine characters of history. 
Full description of play, complete with music. 

$ 1 . 00 . 

Plays for older girls (University or College), 
in Alice Gerstenberg’s “A Little World" 
which contains four plays of college life. The 
Class President, The Class Play, etc. $1.25. 

Dramatic Publishing Co. 


IRISH PLAYS 

*Kerry or Night and Morning.—Dion Bouci- 
cault. 

Comedy, one act; 4 males, 2 females; 40 min¬ 
utes. Costumes modern. Interior scene. Kerry 
is fine character part. 

*Eileen Oge.—Edmund Falconer. 

Drama, 4 acts; 11 males, 3 females, and ex¬ 
tras. Plays 3 hours. A play suitable for Irish 
societies and clubs. 50c. 

: Coom-na-Goppel, or Glen of the Horse.— 
John L. Carleton. 

Drama, five acts; 14 males, 4 interiors and one 
exterior scene; 2% hours. 


*Arrah-na-Pogue.—Dion Boucicault. 

Drama, 3 acts; 14 males, 2 females; 3 hours. 
Landscapes and interior settings. Romantic 
Irish play, patriotic and emotional. 

*Tlie Rapparee.—D. Boucicault. 

Romantic, old fashioned Irish play, in 3 acts; 
9 males, 2 females; IV 2 hours. Scenery, land¬ 
scapes, interior ofvcastle, dungeon, etc. Period, 
James II. 

The Four-leaved Shamrock.—C. J. Hamilton. 

Three males, 4 females; 1% hours. Entertain¬ 
ing and successful. 25c. 

Silken Thomas.—By Samuel Byrne, Pitts¬ 
burgh, Pa. 

ITALIAN 

Guiseppina.—Thomas Littlefield Marble. 

Italian restaurant scene. Italian dialect part 
for lover of Guiseppina; G. speaks a few Italian 
words, and has small part; 3 males, 2 females. 
One act. 

Francesco Carrara.—K. Manning. 

Drama; three acts for 8 males; 1% hours. 
Story of bitter, unrelenting quarrel and how 
peace came about between two Italian noblemen 
of the Middle Ages. Thrilling situations. 

Above Dramatic Publishing Co. 25c each. 

JAPANESE 

The Winning of Fuji.—Japanese play by 
Eunice T. Gray, in one act. Three males, 3 fe¬ 
males; 40 minutes; Japanese costumes. Scenery, 
one interior and one exterior of Japanese house 
easily arranged in one set. 

Dramatic Publishing Co. 25c. 

LADIES’ PLAYS 

A Cup of Coffee.—One act; 8 females; 40 
minutes; modern costumes. Sitting room, in¬ 
terior. Maltilda is prevented from enjoying a 
cup of coffee by a series of annoying callers. 

Dramatic Publishing Co. 25c. 

MALE CHARACTERS 

Laughter in Court.—Comedy in one act by 
John Kendall, for 4 gentlemen. His Worship 
was played by Cyril Maude in original produc¬ 
tion. Scene, the "den," in His Worship’s resi¬ 
dence; 20 minute play. 

Samuel French & Co. 25c. 

Cool-na-Goppel. See Irish list in addenda. 14 
males. 


[ ISO ] 


* Dramatic Publishing Co. 




/ 

Play Catalogue 


Francisco di Carrara— See Italian list in 
addenda. 

MORALITY PLAYS 

Fiat Lux. —A modern morality for Christmas. 
Three males, 1 female. 

French & Co., publishers. 


ONE ACT PLAYS 

The Great Look. —Nita Faydon. 

Two males, 1 female. Very unusual little 
play; comedy. Recpiires exceedingly clever 
actress. 

Samuel French & Co. 35c. 

Dramatic Publishing Co. publishes the follow¬ 
ing one-act plays mentioned elsewhere, under 
other publishers’ lists: 

My Lord in Livery. 25c. 

A Fair Encounter. 25c. 

Box and Cox. 25c. 

Twenty Minutes Under An Umbrella. 25c. 

By Telephone. —Maurice Hageman. Easy. 
One male, 1 female; 20 minutes. 25c. 

A Cup of Tea. —Comedietta. Three males, 1 
female; 30 minutes. A parlor scene. A spirited 
trifle which acts well. 25c. 

Gringoire. —Beautiful, pathetic little play; 
4 males, 2 females; 40 minutes. 25c. 

A Silent Woman, Farce. —By T. Lacy. Two 
males, 1 female; 20 minutes. Easy. A few dis¬ 
tasteful lines should be omitted. One interior. 

15c. 

Tea at Four O’clock. —Drawing room comedy, 
by Mrs. Burton Harrison, for 7 males, 4 females. 
One hour. 25c. 

Violin Maker of Cremona. —Mentioned under 
French addenda list. 25c. 

A Game of Cards. —Mentioned under French 
addenda list. 25c. 

The following are Denison publications: 

Breakfast Food for Two.—Harry Newton. 

One male, 1 female; 20 minutes. A drummer 
and a breakfast food demonstrator meet in a 
small freight office after a quarrel and while a 
storm rages outside, a funny scene ensues in the 
office. A decided novelty. 25c. 


Bread, Butter and Romance. —Comedy in one 
act by Mary Moncure Parker. Irishwoman, gyp¬ 
sies and flapper. One male, 3 females. Can be 
played in any parlor. Easy. 25c. 

Easy Terms. —K. Kavanaugh. Domestic com¬ 
edy. Two males, 1 female. A couple resolve to 
live within their means but the death of a 
wealthy relative shows that human nature pre¬ 
vails. 25 minutes. 25c. 


In Diminutive Dramas. —By Maurice Baring. 
The following plays are recommended. 

Catherine Parr. —A burlesque scene between 
Catherine Parr, the Queen, Henry VIII and a 
page. 

‘The Drawback, a brilliant dialogue. One 
male, 1 female. 

The Greek Vase. —Two males. Excellent little 
one-act play. 

The Rehearsal, in which Shakespeare figures 
as one of the characters. 

Rosamund and Eleanor, for 3 females; a 
dainty sketch for ladies giving opportunity for 
beautiful historical costuming. 

Constable & Co., London. 

A Crumpled Rose-leaf. —T. C. Broughton. 

Three males, 3 females; 30 minutes. All about 
a lover’s quarrel. 

Dramatic Publishing Co. 25c. 

Eight Comedies for Little theatres. —Percival 
Wilde. 

Baker & Co. $1.50. 


PAGEANTS 

The Discovery of America. —Thomas Francis 
Coakley, D. D. 

PANTOMIMES 

The Mistletoe Bough. —Five scenes, arranged 
from the old ballad for fifty characters in all; 
two leading female roles and four males. Two 
hours required for presentation. 

Dramatic Publishing Co. 25c. 

PARISH PLAYS 

Snapshots. —Two-act drama representing inci¬ 
dents and humorous scenes in a photographer’s 
studio. Fifty people in cast. Royalty $5.00; 
35c a copy. Play by Helen Gaylord, Suzanne 
Sanders and Cora Sanders. 


1151 ] 




Play Catalogue 


Pokeyville Rally by the authors of above. 
Scene, laid in office of country hotel. Fifty 
people. Royalty $5.00; 35c per copy. 

Union Depot for a Day. —Entertainment in 
one act employing fifty people (authors of 
above.) Very successful. 35c. 

The Newrich Reception. —Drama, two acts, 
with the same scene, representing the reception 
given by the Newrich family at Rocky (tulch, 
Montana. Thirty-five characters. 35c. Royalty. 

Exerbeetion of the Deestrick Skule. —Mrs. M. 
H. Jaquith, divided into forenoon session, noon 
hour, and afternoon “speaking.” Any number 
of characters may take part. Plays full even¬ 
ing. 50c. 

The above are published by Dramatic Pub¬ 
lishing Co. 

The Parish Theatre. —John Talbot Smith 
(Longmans, Green & Co.) 

* Addenda to Reference list: 

Dramatic Publishing Co., 542 S. Dearborn 
Ave., Chicago, carry a full line of other pub¬ 
lishers’ plays, as well as their own publications. 


RELIGIOUS PLAYS 

Dream of Gerontius. —Cardinal Newman ( Ox¬ 
ford edition. H. Milford, London.) 

The Church Triumphant and The Angel’s 
Visit in Alma Mater. —A play by M. S. Pine, 
Georgetown Visitation Convent, Washington, 
D. C. 

Thy Will Be Done. —See under heading Drama 
in addenda. 


RUSSIA 

A Russian Honeymoon. —Comedy, in 3 acts, 
by Scribe; adapted by Mrs. Burton Harrison. 
Four males, 3 females; 2*4 hours. Two interiors. 
Excellent character drawing; very good play, 
distinctly Russian in type. A Russian version 
of Katherine and Petruchio. 

V 

SHORT PLAYS 

Two Strings to Her Bow. —See under addenda, 

French list. Sweethearts, is also published by 
Dramatic Publishing Co. 

SHAKESPEARE 

Henry V edited and arranged by Chas. E. 
Newton. Plays 3 hours. Historical reference, 
costumes described, etc. 

Dramatic Publishing Co. 25c. 

SPANISH 

Comedias y Entremeses, Cervantes.— de B. 
Rodriguez, Madrid, Spain. 

STAGECRAFT 

Hageman’s Make-Up Book.—Price 25c. Dram¬ 
atic Publishing Co. 

Practical Instructions for Private Theatricals. 

—W. D. Emerson. Dramatic Publishing Co. 25c. 

On the Art of the Theatre. —Edward Gordon 
Craig. Dramatic Publishing Co. $2.00. 

TABLEAUX 

Tableaux for Home and School, suitable for 
Community and Social gatherings. Frances 
Fairfield Denison. 25c. 


Lit* •30 


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